The CMU Pronouncing Dictionary (also known as CMUdict) is an open-source pronouncing dictionary originally created by the Speech Group at Carnegie Mellon University (CMU) for use in speech recognition research. CMUdict provides a mapping orthographic/phonetic for English words in their North American pronunciations. It is commonly used to generate representations for speech recognition (ASR), e.g. the CMU Sphinx system, and speech synthesis (TTS), e.g. the Festival system. CMUdict can be used as a training corpus for building statistical grapheme-to-phoneme (g2p) models that will generate pronunciations for words not yet included in the dictionary. The most recent release is 0.7b; it contains over 134,000 entries. An interactive lookup version is available. == Database format == The database is distributed as a plain text file with one entry to a line in the format "WORD
Resisting AI
Resisting AI: An Anti-fascist Approach to Artificial Intelligence is a book on artificial intelligence (AI) by Dan McQuillan, published in 2022 by Bristol University Press. == Content == Resisting AI takes the form of an extended essay, which contrasts optimistic visions about AI's potential by arguing that AI may best be seen as a continuation and reinforcement of bureaucratic forms of discrimination and violence, ultimately fostering authoritarian outcomes. For McQuillan, AI's promise of objective calculability is antithetical to an egalitarian and just society. McQuillan uses the expression "AI violence" to describe how – based on opaque algorithms – various actors can discriminate against categories of people in accessing jobs, loans, medical care, and other benefits. The book suggests that AI has a political resonance with soft eugenic approaches to the valuation of life by modern welfare states, and that AI exhibits eugenic features in its underlying logic, as well as in its technical operations. The parallel is with historical eugenicists achieving saving to the state by sterilizing defectives so the state would not have to care for their offspring. The analysis of McQuillan goes beyond the known critique of AI systems fostering precarious labour markets, addressing "necropolitics", the politics of who is entitled to live, and who to die. Although McQuillan offers a brief history of machine learning at the beginning of the book – with its need for "hidden and undercompensated labour", he is concerned more with the social impacts of AI rather than with its technical aspects. McQuillan sees AI as the continuation of existing bureaucratic systems that already marginalize vulnerable groups – aggravated by the fact that AI systems trained on existing data are likely to reinforce existing discriminations, e.g. in attempting to optimize welfare distribution based on existing data patterns, ultimately creating a system of "self-reinforcing social profiling". In elaborating on the continuation between existing bureaucratic violence and AI, McQuillan connects to Hannah Arendt's concept of the thoughtless bureaucrat in Eichmann in Jerusalem: A Report on the Banality of Evil, which now becomes the algorithm that, lacking intent, cannot be accountable, and is thus endowed with an "algorithmic thoughtlessness". McQuillan defends the "fascist" in the title of the work by arguing that while not all AI is fascist, this emerging technology of control may end up being deployed by fascist or authoritarian regimes. For McQuillan, AI can support the diffusion of states of exception, as a technology impossible to properly regulate and a mechanism for multiplying exceptions more widely. An example of a scenario where AI systems of surveillance could bring discrimination to a new high is the initiative to create LGBT-free zones in Poland. Skeptical of ethical regulations to control the technology, McQuillan suggests people's councils and workers' councils, and other forms of citizens' agency to resist AI. A chapter titled "Post-Machine Learning" makes an appeal for resistance via currents of thought from feminist science (standpoint theory), post-normal science (extended peer communities), and new materialism; McQuillan encourages the reader to question the meaning of "objectivity" and calls for the necessity of alternative ways of knowing. Among the virtuous examples of resistance – possibly to be adopted by the AI workers themselves – McQuillan notes the Lucas Plan of the workers of Lucas Aerospace Corporation, in which a workforce declared redundant took control, reorienting the enterprise toward useful products. McQuillan advocates for what he calls decomputing, an opposition to the sweeping application and expansion of artificial intelligence. Similar to degrowth, the approach criticizes AI as an outgrowth of the systemic issues within capitalist systems. McQuillan argues that a different future is possible, in which distance between people is reduced rather than increased through AI intermediaries. The work of McQuillan warns against "watered-down forms of engagement" with AI, such as citizen juries, which superficially look like democratic deliberation but may actually obscure important decisions about AI that are outside the purview of the engagement situation (McQuillan 2022, 128). In an interview about the book, McQuillan describes himself as an "AI abolitionist". == Reception == The book has been praised for how it "masterfully disassembles AI as an epistemological, social, and political paradigm". On the critical side, a review in the academic journal Justice, Power and Resistance took exception to the "nightmarish visions of Big Brother" offered by McQuillan, and argued that while many elements of AI may pose concern, a critique should not be based on a caricature of what AI is, concluding that McQuillan's work is "less of a theory and more of a Manifesto". Another review notes "a disconnect between the technical aspects of AI and the socio-political analysis McQuillan provides." Although the book was published before the ChatGPT and large language model debate heated up, the book has not lost relevance to the AI discussion. It is noted for suggesting a link between beliefs in artificial intelligence and beliefs in a racialised and gendered visions of intelligence overall, whereby a certain type of rational, measurable intelligence is privileged, leading to "historical notions of hierarchies of being". The blog Reboot praised McQuillan for offering a theory of harm of AI (why AI could end up hurting people and society) that does not just encourage tackling in isolation specific predicted problems with AI-centric systems: bias, non-inclusiveness, exploitativeness, environmental destructiveness, opacity, and non-contestability. For educational policies could also look at AI following the reading of McQuillan: In his book Resisting AI, Dan McQuillan argues that "When we're thinking about the actuality of AI, we can't separate the calculations in the code from the social context of its application" .... McQuillan's particular concern is how many contemporary applications of AI are amplifying existing inequalities and injustices as well as deepening social divisions and instabilities. His book makes a powerful case for anticipating these effects and actively resisting them for the good of societies. Videos and podcasts with an interest in AI and emerging technology have discussed the book.
Deepfake
Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med
On a Red Station, Drifting
On a Red Station, Drifting is a 2012 science fiction novella by Aliette de Bodard. Set in her Xuya Universe, it focuses on two women aboard a space station with a failing artificial intelligence. It received critical acclaim, becoming a finalist for the 2012 Nebula Award for Best Novella, the 2013 Hugo Award for Best Novella, and the 2013 Locus Award for Best Novella. == Plot == Lê Thi Linh is a magistrate of the Dai Viet Empire who is forced to flee her planet after criticizing the Emperor’s wartime policies. At the same time, rebel groups seize control of her planet and kill most of her subordinates. Linh seeks refuge with her distant relatives on Prosper Station. Prosper is controlled by an artificial intelligence called the Honoured Ancestress. Lê Thi Quyen, Linh’s cousin by marriage, manages the day-to-day operations of Prosper while her husband is away at war. Quyen and Linh immediately fall into conflict. Quyen’s brother-in-law Huu Hieu sells his mem-implants, which are copies of their ancestors’ consciousnesses. Meanwhile, the Honoured Ancestress experiences increasingly severe technical problems. Hieu and Linh become close. Hieu plans use the money from the sale of the implants to leave Prosper and marry his lover on a different station. Linh is upset knowing that she will never be able to leave. A visiting cousin, Lady Oahn, provides schematics for the repair of the Honoured Ancestress. In an effort to hurt Quyen, Linh writes an unflattering poem at a banquet honoring Oanh. In doing so, she reveals that Hieu is trying to leave Prosper. Hieu attempts suicide out of shame, but Linh rescues him. Quyen is able to repair the Honoured Ancestress, restoring her functionality at the expense of erasing many of her memories. The Emperor’s Embroidered Guard arrives at Prosper Station in search of Linh. Linh finds the missing mem-implants and returns them to Quyen. Quyen and Linh briefly reconcile before Linh is arrested and removed from Prosper Station. == Major themes == A review in Kirkus wrote that the novel's "familiar setting" was a "departure point" for the novel to explore its themes. The novel explores family ties; almost everyone on Prosper Station is related in some fashion. Additionally, the use of ancestors' mem-implants further explores the concept of family ties, with some descendants being considered more "worthy" than others due to their higher number of implants. The novel also explores questions of worth, as those who fail at ability tests are often forced to become the "lesser partners" in marriages and are discriminated against due to their perceived lack of achievement. The author notes that it is interesting that gender plays no role in the question of worth, and that the majority of the men in the story are actually the "lesser partner" in their marriage. == Style == The novel is divided into three sections. Liz Bourke wrote that each section builds thematically "towards an emotional crescendo". == Reception == Writing for Locus, Liz Bourke praised the novel's exploration of interpersonal conflict between Linh and Quyen, writing that "essentially subverts the popularly-understood derogatory overtones of 'domestic conflict'". Bourke also praised the story's tension, calling it "so well-strung the prose practically vibrates under its influence". A review for Kirkus stated that the novel is a "beautifully realized story and the characters, plot, theme and writing are expertly crafted." === Awards ===
DialogOS
DialogOS is a graphical programming environment to design computer system which can converse through voice with the user. Dialogs are clicked together in a Flowchart. DialogOS includes bindings to control Lego Mindstorms robots by voice and has bindings to SQL databases, as well as a generic plugin architecture to integrate with other types of backends. DialogOS is used in computer science courses in schools and universities to teach programming and to introduce beginners in the basic principles of human/computer interaction and dialog design. It has also been used in research systems. DialogOS was initially developed commercially by CLT Sprachtechnologie GmbH until its liquidation in 2017. The rights were then acquired by Saarland University and the software was released as open-source. == Bindings to Lego Mindstorms NXT == DialogOS can control the LEGO Mindstorms NXT Series. It uses sensor-nodes to obtain values for the following sensors: noise sensor ultrasonic sensor touch sensor luminosity sensor
Maximum inner-product search
Maximum inner-product search (MIPS) is a search problem, with a corresponding class of search algorithms which attempt to maximise the inner product between a query and the data items to be retrieved. MIPS algorithms are used in a wide variety of big data applications, including recommendation algorithms and machine learning. Formally, for a database of vectors x i {\displaystyle x_{i}} defined over a set of labels S {\displaystyle S} in an inner product space with an inner product ⟨ ⋅ , ⋅ ⟩ {\displaystyle \langle \cdot ,\cdot \rangle } defined on it, MIPS search can be defined as the problem of determining a r g m a x i ∈ S ⟨ x i , q ⟩ {\displaystyle {\underset {i\in S}{\operatorname {arg\,max} }}\ \langle x_{i},q\rangle } for a given query q {\displaystyle q} . Although there is an obvious linear-time implementation, it is generally too slow to be used on practical problems. However, efficient algorithms exist to speed up MIPS search. Under the assumption of all vectors in the set having constant norm, MIPS can be viewed as equivalent to a nearest neighbor search (NNS) problem in which maximizing the inner product is equivalent to minimizing the corresponding distance metric in the NNS problem. Like other forms of NNS, MIPS algorithms may be approximate or exact. MIPS search is used as part of DeepMind's RETRO algorithm.
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 ==