Dr. Sbaitso ( SPAYT-soh) is an artificial intelligence speech synthesis program released late in 1991 by Creative Labs in Singapore for MS-DOS-based personal computers. The name is an acronym for "SoundBlaster Acting Intelligent Text-to-Speech Operator." == History == Dr. Sbaitso was distributed with various sound cards manufactured by Creative Technology in the early 1990s. The text-to-speech engine used is a version of Monologue, which was developed by First Byte Software. Monologue is a later release of First Byte's "SmoothTalker" software from 1984. The program "conversed" with the user as if it were a psychologist, though most of its responses were along the lines of "WHY DO YOU FEEL THAT WAY?" rather than any sort of complicated interaction. When confronted with a phrase it could not understand, it would often reply with something such as "THAT'S NOT MY PROBLEM." Dr. Sbaitso repeated text out loud that was typed after the word "SAY." Repeated swearing or abusive behavior on the part of the user caused Dr. Sbaitso to "break down" in a "PARITY ERROR" before resetting itself. The same would happen, if the user types "SAY PARITY." The program introduced itself with the following lines: HELLO [UserName], MY NAME IS DOCTOR SBAITSO. I AM HERE TO HELP YOU. SAY WHATEVER IS IN YOUR MIND FREELY, OUR CONVERSATION WILL BE KEPT IN STRICT CONFIDENCE. MEMORY CONTENTS WILL BE WIPED OFF AFTER YOU LEAVE, SO, TELL ME ABOUT YOUR PROBLEMS. The program was designed to showcase the digitized voices the cards were able to produce, though the quality was far from lifelike. Additionally, there was a version of this program for Microsoft Windows through the use of a program called Prody Parrot; this version of the software featured a more detailed graphical user interface. The text-to-speech was also used as the voice of 1st Prize from the Baldi's Basics series, albeit slowed down. == Commands == If the user submits "HELP", a list of commands will appear. If the user then submits "M", more commands will appear. There are three pages of commands in total, with guidance on how to use each of the features.
Lost Art-Database
The Lost Art-Datenbank is an online database published by the German Lost Art Foundation (Deutsches Zentrum Kulturgutverluste. It contains information on cultural objects looted from Jewish collectors or transferred due to Nazi persecution during the Nazi era. Until 2015, it was managed by the Koordinierungsstelle für Kulturgutverluste (Magdeburg Coordination Office). == Creation == Following the Washington Conference of 1998, and the commitments to provide more transparency regarding looted art, Germany launched the Lost Art Database in 2000 order to help Holocaust victims and their families track down artworks that had been looted from them or lost due to Nazi persecution. == Functionality == The Lost Art Database lists art and books and other cultural objects that were lost, seized, stolen or forceably sold during the Nazi era. The database is divided into search requests from victims' families, heirs or institutions and "found" reports from cultural institutions on items with unresolved provenance gaps from the Nazi periods. The section on reports of finds lists objects that are known to have been unlawfully seized or relocated as a result of the war. In addition, reports are published here on cultural objects for which an uncertain or incomplete provenance may indicate a possible unlawful seizure or war-related relocation. The publication of reports in the Lost Art Internet Database is carried out on behalf of and with the consent of the reporting persons and institutions. The responsibility for the content of the reports lies with these legal or natural persons. There have been controversies over which items should be included in the database. Lost Art is based on the Washington Principles adopted in 1998, which Germany has committed itself to implementing (Joint Declaration, 1999). The Lost Art Database is considered a key resource in the search for looted art and the victims of persecution. Every item in the Lost Art Database has an identifier, known as a Lost Art ID. Proveana is the linked research database. == Other lost art databases == Other countries have launched databases to help identify Nazi looted art. Each database has its own area of focus. The German Lost Art Database allows families or heirs to submit information. Other countries have databases that focus on looted artworks that have not been found or artworks that were repatriated to the national authorities after the defeat of the Nazis but were never returned to their original owners. Other databases have been created for stolen antiquities, looted art from colonial era, art stolen from Syria, Iraq, Ukraine, or from museums or collectors.
Computational creativity
Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d
Texas Senate Bill 20
Texas Senate Bill 20 (S.B. 20), also known as the "Stopping AI-Generated Child Pornography Act", is a 2025 law in the state of Texas that creates new criminal offenses for those who possess, promote, or view visual material deemed obscene, which is said to depict a child, whether it is an actual person, animated or cartoon depiction, or an image of someone created through computer software or artificial intelligence. It was passed by the Texas Legislature on May 28, 2025, unanimously in both chambers. It was signed into law by Governor Greg Abbott on June 20, 2025. It went into effect on September 1, 2025. It was authored by Pete Flores and co-sponsored by Brent Hagenbuch, Juan Hinojosa, Joan Huffman, Phil King, and Tan Parker, as part of a package of legislation in the Texas House and Senate about A.I. and child pornography. Some supporters called it "common-sense" legislation falling within the "proper role" of government, protecting children and the "common good" within the state, with Heidi Ruiz, a police sergeant in Houston, describing the bill as "fantastic" and "fabulous." The bill drew comparisons to language, within Texas state legislation, which aimed to institute state-level book bans. Critics described the law as unconstitutional, saying it violated the Free Speech Clause of the First Amendment which prohibits abridgement of freedom of speech and the press, including the legal precedent set in Ashcroft v. Free Speech Coalition. The Comic Book Legal Defense Fund vowed to support those wrongly accused under the law. Much of the controversy regarding S.B. 20 involves the broad language pertaining to "obscene" pornographic images as including A.I.-created, animated, and cartoon depictions, with some critics arguing it could have a chilling effect on anime, manga, graphic novels, and other media produced, distributed, or created within Texas. == Provisions == S.B. 20 gives Texas police more provisions to restrict artificial intelligence-created child pornography, creating new criminal charge for possessing material depicting an underage person, under age 18, whether this child is an actual person or not. Those charged with this felony offense could go to state jail, but this could be elevated if the person charged has a prior conviction, of a $10,000 fine and two years in prison. == Reactions == === Support === Lieutenant Governor Dan Patrick applauded the unanimous passage of the law in the Texas Senate and called it "a priority" to protect children in Texas, and Texas citizens and thanked Pete Flores for his work on "this important issue". He later described the bill as part of the "bold, conservative agenda" that the Texas legislature passed during the 2025 legislative session. Phil King, one of the bill's co-sponsors, said that issue of child pornography had "infiltrated" the state's schools and said he was proud that the Texas legislature had "taken decisive action to protect our vulnerable Texans". Another co-sponsor of the legislation, Tan Parker described the law as "decisive action" to protect the children within Texas, and said he looked "forward to advancing this critical legislation" onward from the Texas Senate Criminal Justice Committee. He also described the legislation as "critical" action to protect the state's children from A.I.-generated child pornography and an "effective tool for law enforcement" to crack down on child porn perpetrators. Other supporters, such as police, and prosecutors, called the legislation an "important step" to ensure that images generated with A.I., along with deepfakes, "can't be shared with impunity" and necessary to ensure children's protection. Flores told senators that technology which enabled the production of "offensive" material by child predators had "no redeeming value whatsoever" and asserted that the materials had often been "used to groom and abuse children". John Leigh, a co-founder of Anime Matsuri, one of the largest conventions for anime within Texas, reassured those who contacted him, saying that the law is not targeted at anime and manga fans, stated that he supported the legislation, describing it as a step "in the right direction," and said that he did not believe it would "negatively impact" anime or related art in the state. Also, State Representative Dade Phelan emphasized the legislation's urgency to deal with A.I. and child pornography, adding that they need to "put some guardrails on it to where the public is being taken care of". The Texas Policy Research Foundation supported the legislation, saying that although it may lead to increased demands on state and local governmental resources, higher costs for local governments, and possible "civil liberty concerns" around online censorship, it represents a "necessary legal update" to address exploitation of children online, while "modernizing enforcement mechanisms" and recommended that lawmakers vote in favor of the law. Additionally, the group Texans for Fiscal Responsibility supported the law, arguing that it strengthened state law, upheld public safety, protected minors, and called it a "common-sense bill" protecting and promoting the "common good", children, and fell within the "proper role" of government. The Texas Public Policy Foundation also expressed their support for the law. A policy director for aforementioned conservative think tank, Zach Whiting, told the Texas Senate Committee on Criminal Justice, on March 4, 2025, that the foundation would assist legislators ans staff to "advance any and all measures to protect kids online" and shared an excerpt from of research paper about threats posed by A.I. in creating "sexually explicit deepfakes of children". === Opposition === Although the bill passed both chambers unanimously, there were some reports that the bill stalled due to opposition from Democratic lawmakers. Additionally, some individuals expressed concerns about the broad nature of the law's provisions. Anime Matsuri co-founder Deneice Leigh called for the law's wording to be clarified because "artists are anxious about displaying or selling fan art" even if the intention is "not be to penalize creators". She also described the bill as "vague and open to interpretation" as to what would be considered obscene and offensive while noting that the bill is not aiming to "target artists". Benjamin Napier, owner of Mansfield Comics and Manga in Mansfield, Texas, said that at first he felt the law was "ridiculous" and "kind of frivolous" at first, part of a "misguided puritanical onslaught", and noted that he would not cow "to the puritanical regime" if it was enacted. Kirsten Cather, an Asian Studies scholar at University of Texas, expressed concern at the law's misinterpretation because "many anime characters appear youthful, regardless of their actual age", said that the law could "stifle creative expression", and noted that the law's scope is broad enough to have manga and anime under scrutiny, a "real slippery slope here that's being breached". Marcel Green of Screen Rant said that the law's ambiguity led to concerns from manga and anime fans, and theorized that the law's application to a fan within Texas, who downloaded the 368th chapter of My Hero Academia, which has a "sexualized depiction" of an "underage high school student", would result in a criminal offense of "180 days to two years in state jail, along with a fine of up to $10,000". Green also said the law is problematic because many anime and manga characters are young, with many protagonists as minors and argued that the law could apply in limited cases, if state officials deemed an anime or manga under scrutiny as lacking "artistic value". Evan D. Mullicane, on the same site, said the vague wording of the legislation made it "dangerous" for anime such as Dragon Ball and Naruto, and could impact more than hentai, predicting it will be used against more than its "intended target" and be used to censor stories with "young LGBTQIA characters". Another critic on the same site, Carlyle Edmundson, called for anime fans to step up and prevent the law's enactment "for the good of artists and fans everywhere", saying that the legislation was "draconian" and claimed it was the most extreme case of anime and manga censorship in U.S. history. Nick Valdez of ComicBook.com said that the legislation could lead to censorship of "many anime and manga projects," like Kill la Kill and The 100 Girlfriends Who Really, Really, Really, Really, Really Love You, becoming a crime, and said that even if the law is enforced in a case-by-case basis, it could lead to a "much larger ban of materials in the state" itself due to the content of certain manga and anime. Vanessa Esguerra of The Mary Sue argued that possession of manga like Berserk and Vagabond, or viewing Dandadan, could be deemed illegal under the law, due to various parts of each of these media, and asserted that viewing and owning certain anime and other media, falling under the law's provisions,
Resilience (mathematics)
In mathematical modeling, resilience refers to the ability of a dynamical system to recover from perturbations and return to its original stable steady state. It is a measure of the stability and robustness of a system in the face of changes or disturbances. If a system is not resilient enough, it is more susceptible to perturbations and can more easily undergo a critical transition. A common analogy used to explain the concept of resilience of an equilibrium is one of a ball in a valley. A resilient steady state corresponds to a ball in a deep valley, so any push or perturbation will very quickly lead the ball to return to the resting point where it started. On the other hand, a less resilient steady state corresponds to a ball in a shallow valley, so the ball will take a much longer time to return to the equilibrium after a perturbation. The concept of resilience is particularly useful in systems that exhibit tipping points, whose study has a long history that can be traced back to catastrophe theory. While this theory was initially overhyped and fell out of favor, its mathematical foundation remains strong and is now recognized as relevant to many different systems. == History == In 1973, Canadian ecologist C. S. Holling proposed a definition of resilience in the context of ecological systems. According to Holling, resilience is "a measure of the persistence of systems and of their ability to absorb change and disturbance and still maintain the same relationships between populations or state variables". Holling distinguished two types of resilience: engineering resilience and ecological resilience. Engineering resilience refers to the ability of a system to return to its original state after a disturbance, such as a bridge that can be repaired after an earthquake. Ecological resilience, on the other hand, refers to the ability of a system to maintain its identity and function despite a disturbance, such as a forest that can regenerate after a wildfire while maintaining its biodiversity and ecosystem services. With time, the once well-defined and unambiguous concept of resilience has experienced a gradual erosion of its clarity, becoming more vague and closer to an umbrella term than a specific concrete measure. == Definition == Mathematically, resilience can be approximated by the inverse of the return time to an equilibrium given by resilience ≡ − Re ( λ 1 ( A ) ) {\displaystyle {\text{resilience}}\equiv -{\text{Re}}(\lambda _{1}({\textbf {A}}))} where λ 1 {\textstyle \lambda _{1}} is the maximum eigenvalue of matrix A {\textstyle {\textbf {A}}} . The largest this value is, the faster a system returns to the original stable steady state, or in other words, the faster the perturbations decay. == Applications and examples == In ecology, resilience might refer to the ability of the ecosystem to recover from disturbances such as fires, droughts, or the introduction of invasive species. A resilient ecosystem would be one that is able to adapt to these changes and continue functioning, while a less resilient ecosystem might experience irreversible damage or collapse. The exact definition of resilience has remained vague for practical matters, which has led to a slow and proper application of its insights for management of ecosystems. In epidemiology, resilience may refer to the ability of a healthy community to recover from the introduction of infected individuals. That is, a resilient system is more likely to remain at the disease-free equilibrium after the invasion of a new infection. Some stable systems exhibit critical slowing down where, as they approach a basic reproduction number of 1, their resilience decreases, hence taking a longer time to return to the disease-free steady state. Resilience is an important concept in the study of complex systems, where there are many interacting components that can affect each other in unpredictable ways. Mathematical models can be used to explore the resilience of such systems and to identify strategies for improving their resilience in the face of environmental or other changes. For example, when modelling networks it is often important to be able to quantify network resilience, or network robustness, to the loss of nodes. Scale-free networks are particularly resilient since most of their nodes have few links. This means that if some nodes are randomly removed, it is more likely that the nodes with fewer connections are taken out, thus preserving the key properties of the network.
AI effect
The AI effect is a phenomenon in which advances in artificial intelligence lead to a redefinition of what is considered intelligence, such that capabilities achieved by AI systems are no longer regarded as examples of "real" intelligence. The concept has been used to describe both a cognitive tendency and a sociotechnical pattern, in which successful AI techniques are reclassified as routine computation or absorbed into other domains. Historian Pamela McCorduck described this as a recurring feature of AI research, noting in her 2004 book Machines Who Think that once a problem is solved, it is no longer considered evidence of intelligence. Researcher Rodney Brooks similarly observed in 2002 that once systems are understood, they are often regarded as "just computation". == Definition == The AI effect refers to a shift in how intelligence is defined as machines acquire new capabilities. Tasks such as playing chess, recognizing speech, or interpreting images were historically considered indicators of intelligence, but after successful automation they are often reclassified as routine computation. McCorduck described this as an "odd paradox", in which successful AI systems are assimilated into other domains, leaving AI researchers to focus on unsolved problems. The phenomenon is often interpreted as an instance of moving the goalposts. A commonly cited formulation is Tesler's theorem, often expressed as "AI is whatever hasn't been done yet". When problems are not fully formalised, they may be described using models involving human computation, such as human-assisted Turing machines. == Historical examples == === Game playing === Early AI systems capable of playing games such as checkers and chess were initially regarded as demonstrations of machine intelligence. As these systems improved and became better understood, their achievements were often reinterpreted as examples of computation rather than intelligence. The victory of IBM's Deep Blue over Garry Kasparov in 1997 is a frequently cited example. Critics argued that the system relied on brute-force methods rather than genuine understanding. === Pattern recognition === Technologies such as optical character recognition and speech recognition were once considered core problems in artificial intelligence. As these systems became reliable and widely deployed, they were increasingly treated as standard engineering solutions. === Integration into applications === Many techniques originally developed within AI research have been incorporated into broader technological systems, including marketing, automation, and software applications. Michael Swaine reported in 2007 that AI advances are often presented as developments in other fields. Marvin Minsky observed that successful AI innovations often evolve into separate disciplines. Nick Bostrom noted in 2006 that widely adopted technologies are often no longer labeled as AI. == Contemporary discussion == The AI effect continues to be discussed in the context of recent advances in machine learning, particularly large language models and other generative AI systems. As these systems have become more widely used, some researchers and commentators have noted that their capabilities are frequently described as statistical or mechanical once understood, rather than as intelligence. A 2016 survey of artificial intelligence also noted that AI systems are increasingly embedded in everyday applications, reinforcing earlier observations that successful AI technologies tend to become normalized and no longer identified as AI. At the same time, the widespread commercial use of artificial intelligence has led to greater visibility of the field, contrasting with earlier periods in which AI techniques were often present but unacknowledged. == Interpretations == === Cognitive bias === Some authors describe the AI effect as a cognitive bias in which expectations of intelligence shift as machines achieve new capabilities. === Sociotechnical perspective === Another interpretation emphasizes how technologies are reclassified over time as they become widespread and commercially successful. === Philosophical debate === Some philosophers argue that reclassification reflects genuine conceptual distinctions rather than bias. == Historical context == During periods such as the AI winter, researchers sometimes avoided the term "artificial intelligence" due to negative perceptions. In the 21st century, however, the term "AI" has become widely used in public discourse and marketing. == Broader implications == The AI effect has been linked to broader questions about human uniqueness and the nature of intelligence. Michael Kearns suggested that people may seek to preserve a special role for humans. Similar patterns have been observed in studies of animal cognition. Herbert A. Simon noted that artificial intelligence can provoke strong emotional reactions.
AgMES
The AgMES (Agricultural Metadata Element set) initiative was developed by the Food and Agriculture Organization (FAO) of the United Nations and aims to encompass issues of semantic standards in the domain of agriculture with respect to description, resource discovery, interoperability, and data exchange for different types of information resources. There are numerous other metadata schemas for different types of information resources. The following list contains a list of a few examples: Document-like Information Objects (DLIOs): Dublin Core, Agricultural Metadata Element Set (AgMES) Events: VCalendar Geographic and Regional Information: Geographic information—Metadata ISO/IEC 11179 Standards Persons: Friend-of-a-friend (FOAF), vCard Plant Production and Protection: Darwin Core (1.0 and 2.0) (DwC) AgMES as a namespace is designed to include agriculture specific extensions for terms and refinements from established standard metadata namespaces like Dublin Core, AGLS etc. Thus, to be used for Document-like Information Objects, for example like publications, articles, books, web sites, papers, etc., it will have to be used in conjunction with the standard namespaces mentioned before. The AgMES initiative strives to achieve improved interoperability between information resources in agricultural domain by enabling means for exchange of information. Describing a DLIO with AgMES means exposing its major characteristics and contents in a standard way that can be reused easily in any information system. The more institutions and organizations in the agricultural domain that use AgMES to describe their DLIOs, the easier it will be to interchange data in between information systems like digital libraries and other repositories of agricultural information. == Use of AgMES == Metadata on agricultural Document-like Information Objects (DLIOs) can be created and stored in various formats: embedded in a web site (in the manner as with the HTML meta tag) in a separate metadata database in an XML file in an RDF file AgMES defines elements that can be used to describe a DLIO that can be used together with other metadata standards such as the Dublin Core, the Australian Government Locator Service. A complete list of all elements, refinements and schemes endorsed by AgMES is available from the AgMES website. === Creating application profiles === Application profiles are defined as schemas which consist of data elements drawn from one or more namespaces, combined by implementers, and optimized for a particular local application. Application profiles share the following four characteristics: They draw upon existing pool of metadata definition standards to extract suitable application- or requirement oriented elements. An application profile cannot create new elements. Application profiles specify the application specific details such as the schemes or controlled vocabularies. An application profile also contains information such as the format for the element value, cardinality or data type. Lastly, an application profile can refine standardized definitions as long as it is "semantically narrower or more specific". This capability of application profiles caters to situations where a domain specific terminology is needed to replace a more general one. === Sample application profiles using AgMES === The AGRIS Application Profile is a standard created specifically to enhance the description, exchange and subsequent retrieval of agricultural Document-like Information Objects (DLIOs). It is a format that allows sharing of information across dispersed bibliographic systems and is based on well-known and accepted metadata standards. The Event Application Profile is a standard created to allow members of the Agricultural community to 'know' about an upcoming event and guide them to the event Web site where they can find further information. The information communicated is thus minimum yet interoperable across domains and organizations. == AgMES and the semantic web == One of the advantages of the AgMES metadata schema is the ability to link between the metadata element and controlled vocabularies. The use of controlled vocabulary provides a "known" set of options to the indexer (and the search programmer) as to how the field can be filled out. Often the values may come from a specific thesaurus (e.g. AGROVOC) or classification schemes (e.g. the AGRIS/CARIS classification scheme) etc. Thanks to the possibility to use controlled vocabularies for metadata elements, the user is provided with the most precise information. In this context, work is also being carried out on exploiting the power of controlled vocabularies expressed as using URIs and machine-understandable semantics. In this context, FAO is promoting the Agricultural Ontology Service (AOS) initiative with the objective of expressing more semantics within the traditional thesaurus AGROVOC and build a Concept Server as a repository from which it will be always possible to extract traditional KOS.