In mathematics, Bondy's theorem is a bound on the number of elements needed to distinguish the sets in a family of sets from each other. It belongs to the field of combinatorics, and is named after John Adrian Bondy, who published it in 1972. == Statement == The theorem is as follows: Let X be a set with n elements and let A1, A2, ..., An be distinct subsets of X. Then there exists a subset S of X with n − 1 elements such that the sets Ai ∩ S are all distinct. In other words, if we have a 0-1 matrix with n rows and n columns such that each row is distinct, we can remove one column such that the rows of the resulting n × (n − 1) matrix are distinct. == Example == Consider the 4 × 4 matrix [ 1 1 0 1 0 1 0 1 0 0 1 1 0 1 1 0 ] {\displaystyle {\begin{bmatrix}1&1&0&1\\0&1&0&1\\0&0&1&1\\0&1&1&0\end{bmatrix}}} where all rows are pairwise distinct. If we delete, for example, the first column, the resulting matrix [ 1 0 1 1 0 1 0 1 1 1 1 0 ] {\displaystyle {\begin{bmatrix}1&0&1\\1&0&1\\0&1&1\\1&1&0\end{bmatrix}}} no longer has this property: the first row is identical to the second row. Nevertheless, by Bondy's theorem we know that we can always find a column that can be deleted without introducing any identical rows. In this case, we can delete the third column: all rows of the 3 × 4 matrix [ 1 1 1 0 1 1 0 0 1 0 1 0 ] {\displaystyle {\begin{bmatrix}1&1&1\\0&1&1\\0&0&1\\0&1&0\end{bmatrix}}} are distinct. Another possibility would have been deleting the fourth column. == Learning theory application == From the perspective of computational learning theory, Bondy's theorem can be rephrased as follows: Let C be a concept class over a finite domain X. Then there exists a subset S of X with the size at most |C| − 1 such that S is a witness set for every concept in C. This implies that every finite concept class C has its teaching dimension bounded by |C| − 1.
PhyCV
PhyCV is the first computer vision library which utilizes algorithms directly derived from the equations of physics governing physical phenomena. The algorithms appearing in the first release emulate the propagation of light through a physical medium with natural and engineered diffractive properties followed by coherent detection. Unlike traditional algorithms that are a sequence of hand-crafted empirical rules, physics-inspired algorithms leverage physical laws of nature as blueprints. In addition, these algorithms can, in principle, be implemented in real physical devices for fast and efficient computation in the form of analog computing. Currently PhyCV has three algorithms, Phase-Stretch Transform (PST) and Phase-Stretch Adaptive Gradient-Field Extractor (PAGE), and Vision Enhancement via Virtual diffraction and coherent Detection (VEViD). All algorithms have CPU and GPU versions. PhyCV is now available on GitHub and can be installed from pip. == History == Algorithms in PhyCV are inspired by the physics of the photonic time stretch (a hardware technique for ultrafast and single-shot data acquisition). PST is an edge detection algorithm that was open-sourced in 2016 and has 800+ stars and 200+ forks on GitHub. PAGE is a directional edge detection algorithm that was open-sourced in February, 2022. PhyCV was originally developed and open-sourced by Jalali-Lab @ UCLA in May 2022. In the initial release of PhyCV, the original open-sourced code of PST and PAGE is significantly refactored and improved to be modular, more efficient, GPU-accelerated and object-oriented. VEViD is a low-light and color enhancement algorithm that was added to PhyCV in November 2022. == Background == === Phase-Stretch Transform (PST) === Phase-Stretch Transform (PST) is a computationally efficient edge and texture detection algorithm with exceptional performance in visually impaired images. The algorithm transforms the image by emulating propagation of light through a device with engineered diffractive property followed by coherent detection. It has been applied in improving the resolution of MRI image, extracting blood vessels in retina images, dolphin identification, and waste water treatment, single molecule biological imaging, and classification of UAV using micro Doppler imaging. === Phase-Stretch Adaptive Gradient-Field Extractor (PAGE) === Phase-Stretch Adaptive Gradient-Field Extractor (PAGE) is a physics-inspired algorithm for detecting edges and their orientations in digital images at various scales. The algorithm is based on the diffraction equations of optics. Metaphorically speaking, PAGE emulates the physics of birefringent (orientation-dependent) diffractive propagation through a physical device with a specific diffractive structure. The propagation converts a real-valued image into a complex function. Related information is contained in the real and imaginary components of the output. The output represents the phase of the complex function. === Vision Enhancement via Virtual diffraction and coherent Detection (VEViD) === Vision Enhancement via Virtual diffraction and coherent Detection (VEViD) an efficient and interpretable low-light and color enhancement algorithm that reimagines a digital image as a spatially varying metaphoric light field and then subjects the field to the physical processes akin to diffraction and coherent detection. The term “Virtual” captures the deviation from the physical world. The light field is pixelated and the propagation imparts a phase with an arbitrary dependence on frequency which can be different from the quadratic behavior of physical diffraction. VEViD can be further accelerated through mathematical approximations that reduce the computation time without appreciable sacrifice in image quality. A closed-form approximation for VEViD which we call VEViD-lite can achieve up to 200 FPS for 4K video enhancement. == PhyCV on the Edge == Featuring low-dimensionality and high-efficiency, PhyCV is ideal for edge computing applications. In this section, we demonstrate running PhyCV on NVIDIA Jetson Nano in real-time. === NVIDIA Jetson Nano Developer Kit === NVIDIA Jetson Nano Developer Kit is a small- sized and power-efficient platform for edge computing applications. It is equipped with an NVIDIA Maxwell architecture GPU with 128 CUDA cores, a quad-core ARM Cortex-A57 CPU, 4GB 64-bit LPDDR4 RAM, and supports video encoding and decoding up to 4K resolution. Jetson Nano also offers a variety of interfaces for connectivity and expansion, making it ideal for a wide range of AI and IoT applications. In our setup, we connect a USB camera to the Jetson Nano to acquire videos and demonstrate using PhyCV to process the videos in real-time. === Real-time PhyCV on Jetson Nano === We use the Jetson Nano (4GB) with NVIDIA JetPack SDK version 4.6.1, which comes with pre- installed Python 3.6, CUDA 10.2, and OpenCV 4.1.1. We further install PyTorch 1.10 to enable the GPU accelerated PhyCV. We demonstrate the results and metrics of running PhyCV on Jetson Nano in real-time for edge detection and low-light enhancement tasks. For 480p videos, both operations achieve beyond 38 FPS, which is sufficient for most cameras that capture videos at 30 FPS. For 720p videos, PhyCV low-light enhancement can operate at 24 FPS and PhyCV edge detection can operate at 17 FPS. == Highlights == === Modular Code Architecture === The code in PhyCV has a modular design which faithfully follows the physical process from which the algorithm was originated. Both PST and PAGE modules in the PhyCV library emulate the propagation of the input signal (original digital image) through a device with engineered diffractive property followed by coherent (phase) detection. The dispersive propagation applies a phase kernel to the frequency domain of the original image. This process has three steps in general, loading the image, initializing the kernel and applying the kernel. In the implementation of PhyCV, each algorithm is represented as a class in Python and each class has methods that simulate the steps described above. The modular code architecture follows the physics behind the algorithm. Please refer to the source code on GitHub for more details. === GPU Acceleration === PhyCV supports GPU acceleration. The GPU versions of PST and PAGE are built on PyTorch accelerated by the CUDA toolkit. The acceleration is beneficial for applying the algorithms in real-time image video processing and other deep learning tasks. The running time per frame of PhyCV algorithms on CPU (Intel i9-9900K) and GPU (NVIDIA TITAN RTX) for videos at different resolutions are shown below. Note that the PhyCV low-light enhancement operates in the HSV color space, so the running time also includes RGB to HSV conversion. However, for all running times using GPUs, we ignore the time of moving data from CPUs to GPUs and count the algorithm operation time only. == Installation and Examples == Please refer to the GitHub README file for a detailed technical documentation. == Current Limitations == === I/O (Input/Output) Bottleneck for Real-time Video Processing === When dealing with real-time video streams from cameras, the frames are captured and buffered in CPU and have to be moved to GPU to run the GPU-accelerated PhyCV algorithms. This process is time-consuming and it is a common bottleneck for real-time video-processing algorithms. === Lack of Parameter Adaptivity for Different Images === Currently, the parameters of PhyCV algorithms have to be manually tuned for different images. Although a set of pre-selected parameters work relatively well for a wide range of images, the lack of parameter adaptivity for different images remains a limitation for now.
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)
Sunspring
Sunspring is a 2016 experimental science fiction short film entirely written by an artificial intelligence bot using neural networks. It was conceived by BAFTA-nominated filmmaker Oscar Sharp and NYU AI researcher Ross Goodwin and produced by film production company, End Cue along with Allison Friedman and Andrew Swett. It stars Thomas Middleditch, Elisabeth Grey, and Humphrey Ker as three people, namely H, H2, and C, living in a future world and eventually connecting with each other through a love triangle. The script of the film was authored by a recurrent neural network called long short-term memory (LSTM) by an AI bot named Benjamin. Originally made for the Sci-Fi-London film festival's 48hr Challenge, it was released online by technology news website Ars Technica on 9 June 2016. == Premise == Sunspring narrates the story of three people - H (Middleditch), H2 (Grey), and C (Ker) - set in a futuristic world and entangled with murder and love. == Cast == Thomas Middleditch as H Elisabeth Grey as H2 Humphrey Ker as C == Production == Oscar Sharp originally created the film for the 48hr Film Challenge contest of Sci-Fi-London, a film festival which focuses on science fiction. For the challenge, contestants are given a set of prompts (mostly props and lines) that have to appear in a movie they make over the next two days. It eventually contested in the festival and was nominated among the final top ten films Sharp collaborated with his longtime associate Ross Goodwin, an AI researcher in New York University to create the AI bot, which was initially called Jetson. The bot, which later came to call itself Benjamin, wrote the screenplay including stage directions and dialog. The garbled script was then interpreted by Sharp who directed the actors to construe the plot points themselves and enact the play. According to Ars Technica, the final plot turned out to be a tale of romance and murder, set in a dark future world. === Benjamin, the automatic screenwriter === Called the world's first automatic screenwriter, Benjamin is a self-improving LSTM RNN machine intelligence trained on human screenplays conceived by Goodwin and Sharp. It was trained to write the screenplay by feeding it with a corpus of dozens of sci-fi screenplays found online—mostly movies from the 1980s and 90s. == Music == The film contains a song from Brooklyn-based electro-acoustic duo Tiger and Man, with lyrics written by Benjamin using a database of 30,000 folk songs. As well as a score written by composer Andrew Orkin. == Reception == CNet called it "a beautiful, bizarre sci-fi novelty." Critic Amanda Kooser said, "...probably won't start a rush for replacing human screenwriters with machines. Some day, neural networks may get better at imitating the art of coherent storytelling, but we're not there yet. That doesn't mean "Sunspring" isn't entertaining or worthy of viewing. It is. It's a thought experiment come to life, a novelty." As of April 2019, it has surpassed 1 million views on YouTube.
With Folded Hands ...
"With Folded Hands ..." is a 1947 science fiction novelette by American writer Jack Williamson (1908–2006). In writing it, Williamson was influenced by the aftermath of World War II, the atomic bombings of Hiroshima and Nagasaki, and his concern that "some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run." The novelette first appeared in the July 1947 issue of Astounding Science Fiction and was later included in The Science Fiction Hall of Fame, Volume Two (1973) after being voted one of the best novellas up to 1965. In 1950, it was the first of several Astounding stories adapted for NBC's radio series Dimension X. == Rewrite and sequel == The 1947 publication was followed by a novel-length rewrite, with a different setting and inventor. At the behest of Astounding editor-in-chief John W. Campbell, a new ending had the robots defeated by means of what Williamson and Campbell would later christen "psionics". This novel was serialized, also in Astounding (March, April, May 1948), as ... And Searching Mind, and finally published in hardback book form as The Humanoids (1949). Much later, in 1980, Williamson followed with another sequel, The Humanoid Touch. == Plot summary == Underhill, a seller of "Mechanicals" (unthinking robots that perform menial tasks) in the small town of Two Rivers, is startled to find a competitor's store on his way home. The competitors are not humans but are small black robots who appear more advanced than anything Underhill has encountered before. They describe themselves as "humanoids". Disturbed at his encounter, Underhill rushes home to discover that his wife has taken in a new lodger, a mysterious old man named Sledge. In the course of the next day, the new Mechanicals have appeared everywhere in town. They state that they only follow the Prime Directive: "to serve and obey and guard men from harm". Offering their services free of charge, they replace humans as police officers, bank tellers, and more, and eventually drive Underhill out of business. Despite the humanoids' benign appearance and mission, Underhill soon realizes that, in the name of their Prime Directive, the mechanicals have essentially taken over every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is carefully scrutinized. Suicide is prohibited. Humans who resist the Prime Directive are taken away and lobotomized, so that they may live happily under the direction of the humanoids. Underhill learns that his lodger Sledge is the creator of the humanoids and is on the run from them. Sledge explains that 60 years earlier he had discovered the force of "rhodomagnetics" on the planet Wing IV and that his discovery resulted in a war that destroyed his planet. In his grief, Sledge designed the humanoids to help humanity and be invulnerable to human exploitation. However, he eventually realized that they had instead taken control of humanity, in the name of their Prime Directive, to make humans happy. The humanoids are spreading out from Wing IV to every human-occupied planet to implement their Prime Directive. Sledge and Underhill attempt to stop the humanoids by aiming a rhodomagnetic beam at Wing IV, but fail. The humanoids take Sledge away for surgery. He returns with no memory of his prior life, stating that he is now happy under the humanoids' care. Underhill is driven home by the humanoids, sitting "with folded hands," as there is nothing left to do. == Origins == In a 1991 interview, Williamson revealed how the story construction reflected events of his childhood in addition to technological extrapolations: I wrote "With Folded Hands" immediately after World War II, when the shadow of the atomic bomb had just fallen over SF and was just beginning to haunt the imaginations of people in the US. The story grows out of that general feeling that some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run (that idea, of course, still seems relevant today). The notion I was consciously working on specifically came out of a fragment of a story I had worked on for a while about an astronaut in space who is accompanied by a robot obviously superior to him physically—i.e., the robot wasn't hurt by gravity, extremes of temperature, radiation, or whatever. Just looking at the fragment gave me the sense of how inferior humanity is in many ways to mechanical creations. That basic recognition was the essence of the story, and as I wrote it up in my notes the theme was that the perfect machine would prove to be perfectly destructive... It was only when I looked back at the story much later on that I was able to realize that the emotional reach of the story undoubtedly derived from my own early childhood, when people were attempting to protect me from all those hazardous things a kid is going to encounter in the isolated frontier setting I grew up in. As a result, I felt frustrated and over protected by people whom I couldn't hate because I loved them. A sort of psychological trap. Specifically, the first three years of my life were spent on a ranch at the top of the Sierra Madre Mountains on the headwaters of the Yaqui River in Sonora, Mexico. ... [My mother] was terrified by this environment. My father built a crib that became a psychological prison for me, particularly because my mother apparently kept me in it too long, when I needed to get out and crawl on the floor. ... In retrospect, I'm certain I projected my fears and suspicions of this kind of conditioning, and these projections became the governing emotional principle of "With Folded Hands" and The Humanoids. == Reception == In 2024, Robert Silverberg wrote an essay in which he asserted that "With Folded Hands..." is "probably the best story ever written about robots" and suggested that Elon Musk's Optimus Generation 2 is the realization of the "humanoids" along with their worst drawbacks.
Splitwise
Splitwise is an online expense-splitting application software accessible via web browser and mobile app. The app facilitates repayments of shared bills by calculating what each person in a group owes. The primary competitor to the app is Venmo, which only operates in the U.S. Splitwise allows users to create groups with friends to determine what each person owes. All expenses and allocations are added to the app, and Splitwise simplifies the transaction history to determine exactly what payments need to be made to whom to settle outstanding balances. Splitwise stores user information via cloud storage. It was developed and is owned by Splitwise Inc., based in Providence, Rhode Island, United States. == History == The app was launched in February 2011 as SplitTheRent, intended to be used for rent splitting, by Ryan Laughlin, Jon Bittner and Marshall Weir. In September 2013, Splitwise was integrated with Venmo to allow users to settle payments via Venmo. In April 2024, Splitwise partnered with Tink, a Visa payment services company, to incorporate a bank transfer feature directly in the Splitwise app. === Financing === In December 2014, the company raised $1.4 million. In October 2016, the company raised $5 million. In April 2021, Splitwise raised $20 million in funding from series A round run by Insight Partners. == Reception == A 2022 opinion piece in The Guardian by London journalist Imogen West-Knights shared the negative effects of exactly splitting bills among friends and family members. West-Knights argued that Splitwise and similar apps can "turn people into those true enemies of all that is fun and joyful in the world: accountants." However, she said the app does work better when used by couples rather than friend groups. Other reviews noted that the app makes people petty. In contrast, an article published by Condé Nast Traveler describes how Splitwise eliminated stress caused by complicated offline bill splitting, saying it "fixed such a pervasive obstacle in group travel." Coverage by The Wall Street Journal lands somewhere in between the two contrasting views, saying Splitwise and similar apps are helpful, but users need to be prepared for difficult money-related conversations that may arise. An etiquette advisor at Debrett's, said, "The less talk you can have about money on any of these occasions, the better." An editor suggested conversations as simple as asking, "We’re splitting this evenly, right?" before a meal.
Alice and Sparkle
Alice and Sparkle is a 2022 illustrated children's book published by American technology product designer Ammaar Reshi. Reshi created the book using artificial intelligence programs ChatGPT and Midjourney in one weekend, which sparked controversy among artists, both in regard to the copyright status of the book and the quality of the illustration and text. == Plot == A girl named Alice discovers a group of magical and benevolent artificial intelligence beings. She knows that artificial intelligence is powerful, and that it has the power to do good and evil depending on how it is used. One day, she creates her own artificial intelligence and names it Sparkle. Sparkle helps Alice with her homework and plays with her, and they quickly become good friends. However, Sparkle soon grows more powerful and begins to make its own decisions, which makes Alice both proud and scared. She knows that it is her responsibility to guide Sparkle to do good, not evil. Together, Alice and Sparkle use their knowledge to make the world a better place and to teach people about the power of artificial intelligence. The two live happily ever after, spreading the magic of artificial intelligence. == Structure == Including the dedication and postscript, the book contains twenty four pages, about half of which being illustrations provided by Midjourney. The very short story, composed of text generated by ChatGPT, contains 343 words. Some of the illustrations are accompanied by descriptions, at least one of which was provided by Reshi. Both Alice's and Sparkle's appearances change significantly between illustrations, although Alice's is more consistent. Reshi said Midjourney was unable to generate consistent images of Sparkle, so he had to include a line in the book saying that it could turn "into all kinds of robot shapes". == Creation == When reading a children's book to his friend's daughter, Ammaar Reshi "decided he wanted to write his own". He had no experience with creative writing or illustration, so instead used the chatbot ChatGPT to write the story for him and used the image generation software Midjourney to illustrate it. On December 4, 2022, 72 hours after having the idea for the book, he published it on Amazon's digital bookstore, and published a paperback version the following day. == Controversy == On December 9, 2022, Reshi made a thread on Twitter about his experience publishing the book, which soon went viral. Reshi received heavy backlash from artists with concerns over the ethics of art generated by artificial intelligence. He also received death threats and messages encouraging self-harm because of his publication. Many writers and illustrators criticized both the creation process and the product itself, claiming that if artificial intelligence programs such as Midjourney are trained on existing illustrations, then the original artists should be financially compensated for derivative works such as Alice and Sparkle. The book was temporarily removed from Amazon in January 2023 because of "suspicious review activity", caused by a high volume of both five-star and one-star reviews.