Attempto Controlled English (ACE) is a controlled natural language, i.e. a subset of standard English with a restricted syntax and restricted semantics described by a small set of construction and interpretation rules. It has been under development at the University of Zurich since 1995. In 2013, ACE version 6.7 was announced. ACE can serve as knowledge representation, specification, and query language, and is intended for professionals who want to use formal notations and formal methods, but may not be familiar with them. Though ACE appears perfectly natural—it can be read and understood by any speaker of English—it is in fact a formal language. ACE and its related tools have been used in the fields of software specifications, theorem proving, proof assistants, text summaries, ontologies, rules, querying, medical documentation and planning. Here are some simple examples: Every woman is a human. A woman is a human. A man tries-on a new tie. If the tie pleases his wife then the man buys it. ACE construction rules require that each noun be introduced by a determiner (a, every, no, some, at least 5, ...). Regarding the list of examples above, ACE interpretation rules decide that (1) is interpreted as universally quantified, while (2) is interpreted as existentially quantified. Sentences like "Women are human" do not follow ACE syntax and are consequently not valid. Interpretation rules resolve the anaphoric references in (3): the tie and it of the second sentence refer to a new tie of the first sentence, while his and the man of the second sentence refer to a man of the first sentence. Thus an ACE text is a coherent entity of anaphorically linked sentences. The Attempto Parsing Engine (APE) translates ACE texts unambiguously into discourse representation structures (DRS) that use a variant of the language of first-order logic. A DRS can be further translated into other formal languages, for instance AceRules with various semantics, OWL, and SWRL. Translating an ACE text into (a fragment of) first-order logic allows users to reason about the text, for instance to verify, to validate, and to query it. == Overview == As an overview of the current version 6.6 of ACE this section: Briefly describes the vocabulary Gives an account of the syntax Summarises the handling of ambiguity Explains the processing of anaphoric references. === Vocabulary === The vocabulary of ACE comprises: Predefined function words (e.g. determiners, conjunctions) Predefined phrases (e.g. "it is false that ...", "it is possible that ...") Content words (e.g. nouns, verbs, adjectives, adverbs). === Grammar === The grammar of ACE defines and constrains the form and the meaning of ACE sentences and texts. ACE's grammar is expressed as a set of construction rules. The meaning of sentences is described as a small set of interpretation rules. A Troubleshooting Guide describes how to use ACE and how to avoid pitfalls. ==== ACE texts ==== An ACE text is a sequence of declarative sentences that can be anaphorically interrelated. Furthermore, ACE supports questions and commands. ==== Simple sentences ==== A simple sentence asserts that something is the case—a fact, an event, a state. The temperature is −2 °C. A customer inserts 2 cards. A card and a code are valid. Simple ACE sentences have the following general structure: subject + verb + complements + adjuncts Every sentence has a subject and a verb. Complements (direct and indirect objects) are necessary for transitive verbs (insert something) and ditransitive verbs (give something to somebody), whereas adjuncts (adverbs, prepositional phrases) are optional. All elements of a simple sentence can be elaborated upon to describe the situation in more detail. To further specify the nouns customer and card, we could add adjectives: A trusted customer inserts two valid cards. possessive nouns and of-prepositional phrases: John's customer inserts a card of Mary. or variables as appositions: John inserts a card A. Other modifications of nouns are possible through relative sentences: A customer who is trusted inserts a card that he owns. which are described below since they make a sentence composite. We can also detail the insertion event, e.g. by adding an adverb: A customer inserts some cards manually. or, equivalently: A customer manually inserts some cards. or, by adding prepositional phrases: A customer inserts some cards into a slot. We can combine all of these elaborations to arrive at: John's customer who is trusted inserts a valid card of Mary manually into a slot A. ==== Composite sentences ==== Composite sentences are recursively built from simpler sentences through coordination, subordination, quantification, and negation. Note that ACE composite sentences overlap with what linguists call compound sentences and complex sentences. ===== Coordination ===== Coordination by and is possible between sentences and between phrases of the same syntactic type. A customer inserts a card and the machine checks the code. There is a customer who inserts a card and who enters a code. A customer inserts a card and enters a code. An old and trusted customer enters a card and a code. Note that the coordination of the noun phrases a card and a code represents a plural object. Coordination by or is possible between sentences, verb phrases, and relative clauses. A customer inserts a card or the machine checks the code. A customer inserts a card or enters a code. A customer owns a card that is invalid or that is damaged. Coordination by and and or is governed by the standard binding order of logic, i.e. and binds stronger than or. Commas can be used to override the standard binding order. Thus the sentence: A customer inserts a VisaCard or inserts a MasterCard, and inserts a code. means that the customer inserts a VisaCard and a code, or alternatively a MasterCard and a code. ===== Subordination ===== There are four constructs of subordination: relative sentences, if-then sentences, modality, and sentence subordination. Relative sentences starting with who, which, and that allow to add detail to nouns: A customer who is trusted inserts a card that he owns. With the help of if-then sentences we can specify conditional or hypothetical situations: If a card is valid then a customer inserts it. Note the anaphoric reference via the pronoun it in the then-part to the noun phrase a card in the if-part. Modality allows us to express possibility and necessity: A trusted customer can/must insert a card. It is possible/necessary that a trusted customer inserts a card. Sentence subordination comes in various forms: It is true/false that a customer inserts a card. It is not provable that a customer inserts a card. A clerk believes that a customer inserts a card. ===== Quantification ===== Quantification allows us to speak about all objects of a certain class (universal quantification), or to denote explicitly the existence of at least one object of this class (existential quantification). The textual occurrence of a universal or existential quantifier opens its scope that extends to the end of the sentence, or in coordinations to the end of the respective coordinated sentence. To express that all involved customers insert cards we can write Every customer inserts a card. This sentence means that each customer inserts a card that may, or may not, be the same as the one inserted by another customer. To specify that all customers insert the same card—however unrealistic that situation seems—we can write: A card is inserted by every customer. or, equivalently: There is a card that every customer inserts. To state that every card is inserted by a customer we write: Every card is inserted by a customer. or, somewhat indirectly: For every card there is a customer who inserts it. ===== Negation ===== Negation allows us to express that something is not the case: A customer does not insert a card. A card is not valid. To negate something for all objects of a certain class one uses no: No customer inserts more than 2 cards. or, there is no: There is no customer who inserts a card. To negate a complete statement one uses sentence negation: It is false that a customer inserts a card. These forms of negation are logical negations, i.e. they state that something is provably not the case. Negation as failure states that a state of affairs cannot be proved, i.e. there is no information whether the state of affairs is the case or not. It is not provable that a customer inserts a card. ==== Queries ==== ACE supports two forms of queries: yes/no-queries and wh-queries. Yes/no-queries ask for the existence or non-existence of a specified situation. If we specified: A customer inserts a card. then we can ask: Does a customer insert a card? to get a positive answer. Note that interrogative sentences always end with a question mark. With the help of wh-queries, i.e. queries with query words, we can interrogate a text for details of the specified situation. If we specified: A
YNAB
You Need a Budget (YNAB) (pronounced ) is an online personal budgeting program based on the envelope system developed by a privately owned American company of the same name. It is available via any web browser or a mobile app. == History == The program was initially developed as standalone software in 2004 by Jesse Mecham, while he was in college pursuing his master's degree in accounting, after he and his wife faced financial difficulty and decided to improve their budgeting. It evolved from a spreadsheet that he created for the budgeting process. The acronym stands for "you need a budget." In 2015 they changed their licensing model to software as a service. In 2020, YNAB had 115 employees, all working remotely. == Overview == The service encourages users to follow four principles or "rules": Give every dollar a job: Each dollar in a budget is allocated to a specific purpose. This concept is also called zero-based budgeting. Embrace true expenses: All expenses are planned for, so that there are no surprises. Roll with the punches: Being flexible when there is overspending. Age your money: Keeping money in your budget without immediately spending it. Users can either import transactions automatically from their financial institutions or input them manually. The software also displays financial reports to keep users informed about their finances at a glance. == Awards and recognition == YNAB has been named one of the best budgeting apps by U.S. News & World Report, Kiplinger's Personal Finance, CNN, HuffPost, CNBC, and hundreds of other financial reporting outlets. The Wall Street Journal – Best budgeting app for hands-on budgeters. Forbes – Best Budgeting Apps Money – Best budgeting app for college students. Lifehacker – Most popular personal finance software. Wirecutter – "Great pick for hard-core budgeters". Investopedia – Best overall budgeting app.
Rumelhart Prize
The David E. Rumelhart Prize for Contributions to the Theoretical Foundations of Human Cognition was founded in 2001 in honor of the cognitive scientist David Rumelhart to introduce the equivalent of a Nobel Prize for cognitive science. It is awarded annually to "an individual or collaborative team making a significant contemporary contribution to the theoretical foundations of human cognition". The annual award is presented at the Cognitive Science Society meeting, where the recipient gives a lecture and receives a check for $100,000. At the conclusion of the ceremony, the next year's award winner is announced. The award is funded by the Robert J. Glushko and Pamela Samuelson Foundation. The Rumelhart Prize committee is independent of the Cognitive Science Society. However, the society provides a large and interested audience for the awards. == Selection Committee == As of 2022, the selection committee for the prize consisted of: Richard Cooper (chair) Dedre Gentner Robert J. Glushko Tania Lombrozo Steven T. Piantadosi Jesse Snedeker == Recipients ==
Anna Ridler
Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)
CADE ATP System Competition
The CADE ATP System Competition (CASC) is an annual competition of fully automated theorem provers for classical logic. == Competition == CASC is associated with the Conference on Automated Deduction and the International Joint Conference on Automated Reasoning organized by the Association for Automated Reasoning. It has inspired similar competition in related fields, in particular the successful SMT-COMP competition for satisfiability modulo theories, the SAT Competition for propositional reasoners, and the modal logic reasoning competition. The first CASC, CASC-13, was held as part of the 13th Conference on Automated Deduction at Rutgers University, New Brunswick, NJ, in 1996. Among the systems competing were Otter and SETHEO.
Availability zone
In cloud computing, an availability region is a group of data centres that are located in the same geographical region. Availability regions comprise multiple availability zones, which are groups of data centres that are located far enough from each other to prevent large-scale outages in the event of failure of a single zone, whilst still being close enough to each other to enable low-latency connections. Distributed systems spanning multiple availability zones allow for high availability, even in the event of catastrophic failure, such as natural disasters. Services offering distinct availability zones include Amazon Web Services, Microsoft Azure and Google Cloud.
Tilly Norwood
Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th