EXAPT (a portmanteau of "Extended Subset of APT") is a production-oriented programming language that allows users to generate NC programs with control information for machining tools and facilitates decision-making for production-related issues that may arise during various machining processes. EXAPT was first developed to address industrial requirements. Through the years, the company created additional software for the manufacturing industry. Today, EXAPT offers a suite of SAAS products and services for the manufacturing industry. The trade name, EXAPT, is most commonly associated with the CAD/CAM-System, production data, and tool management software of the German company EXAPT Systemtechnik GmbH based in Aachen, DE. == General == EXAPT is a modularly built programming system for all NC machining operations as Drilling Turning Milling Turn-Milling Nibbling Flame-, laser-, plasma- and water jet cutting Wire eroding Operations with industrial robots Due to the modular structure, the main product groups, EXAPTcam and EXAPTpdo, are gradually expandable and permit individual software for the manufacturing industry used individually and also in a compound with an existing IT environment. == Functionality == EXAPTcam meets the requirements for NC planning, especially for the cutting operations such as turning, drilling, and milling up to 5-axis simultaneous machining. Thereby new process technologies, tool, and machine concepts are constantly involved. In the NC programming data from different sources such as 3D CAD models, drawings or tables can flow in. The possibilities of NC programming reaches from language-oriented to feature-oriented NC programming. The integrated EXAPT knowledge database and intelligent and scalable automatisms support the user. The EXAPT NC planning also covers the generation of production information as clamping and tool plans, presetting data or time calculations. The realistic simulation possibilities of NC planning and NC control data provide with production reliability. EXAPTpdo (EXAPT ProductionsDataOrganization) provides a neutrally applicable technology platform for the information compound of the NC planning - to the shop floor. This applies to all NC production data that are necessary for the set-up of NC machines, for the provision, presetting, and stocking of manufacturing resources and provided by EXAPTpdo in a central database. Besides classical functions of the tool management system (TMS) as the management of cutting tools, measuring, testing and clamping devices the technology data management and tool lifecycle management (TLM) is also included. System-supported "where-used lists" helps to handle the manufacturing resource cycle by secured requirement determination and requirement fulfillment. Unnecessary transports and unplanned dispositive adjustments are dropped, stocks are reduced, set-up times reduced and the throughput is increased. EXAPTpdo synchronizes involved systems within the value chain. Stock systems, MES systems or ERP systems (e.g. from the purchasing or production areas) do not work in isolation from each other but they interact with each other. EXAPTpdo provides the base to Smart Factory, for more flexibility in production and faster communication. == History == With the foundation of the EXAPT-Verein in 1967 as spin-off of the universities Aachen, Berlin and Stuttgart the further development "EXAPT (EXtended Subset of APT)" of the programming language "APT (Automatically Programmed Tool)" was focused and so the first milestone for the EXAPT history was set. In the same year the system EXAPT 1 for drilling and simple milling tasks became available. 1969 The industrial application of EXAPT 2 for the programming of NC machines with 2-axis linear and path control begins. In the following year, the development of the EXAPT modular system starts. 1972 BASIC-EXAPT is provided for the universal, homogeneous programming of all NC tasks. The support is made by the EXAPT applications consultancy. 1973 EXAPT 1.1 is provided for the programming of straight-cut and continuous-path controlled drilling and milling machines and machining centers. At the Hanover Fair (IHA 73) the interactive access to a mainframe via a time-sharing terminal for the part program entry and correction is presented and starts the replacement of the punch card. 1974 The possibilities for the use of process computers for the NC data transfer are leveled out. EXAPT offers the possibility of the result simulation when using plotters with display of tool paths and tools in assignment to the workpiece. In April 1975, the EXAPT NC Systemtechnik GmbH was founded with the aim, of enabling entry into the NC technique for small and medium-sized companies by a complete product and service program. In the following year, the system portfolio is extended with further system modules and service programs and the provision of postprocessors. 1978 The development activities on the EXAPT module system started in 1970 are completed. Using modern software techniques, the different system parts BASIC-EXAPT, EXAPT 1, EXAPT 1.1, and EXAPT 2 are composed of a total system. System support and applications consultancy become a new working focus. From the beginning to the middle of the 1980s Beside new portable software modules for CAD/CAM applications (e. g. CAPEX, NESTEX, CADEX, CADCPL), the first version of the EXAPT DNC system and extensions of the EXAPT NC programming system for the machining of sculptured surfaces are presented. 1988 EXAPT expands the software product range by systems for tool data management (BMO) and production data management (FDO). EXAPT trains more than 1,300 course participants including company-specific courses. 1992 The first version of the completely new product generation EXAPTplus is presented and the agency in Dresden is opened. 1993 The company name "EXAPT NC Systemtechnik GmbH" is changed to "EXAPT Systemtechnik GmbH." EXAPTplus is presented on PC under Windows NT at the EMO '93. The decentralization of the use of EXAPT systems expands the range of applications. In the following year, EXAPT-DNC is executable under Windows on a customary PC. Special hardware is not needed and so it can be used in compound with the database-supported EXAPT production data management system (FDO). 1995 EXAPTplus is also ready for complex application cases such as machining of tubes at extrusion tools. EXAPT-CADI provides the transfer of 2D CAD data to EXAPTplus. With the new office Gießen the marketing is strengthened. In the following year the EXAPT NC editor is developed for the direct processing of NC control data with tool path display and visualization of the tools. In the course of the market entry of more comfortable 3D CAD systems for the solid modelling of components a detailed evaluation of current systems is made in 1997. It is decided to use SolidWorks as a reference system for the solid-oriented NC planning with EXAPT. 1998 The first solution for the transfer of geometry data between SolidWorks and EXAPTplus is generated. The EXAPT organization systems are (beside SQL) also executable under Oracle now. The use of client server solutions supports the data flow in the production. 1999 AFR functions are provided in connection with EXAPTsolid to support a workpiece modelling for NC. The millennium capability is ensured for all EXAPT systems. AFR is a ground-breaking for the integration of third-party products. 2002 EXAPT-BMG is developed for the generation and visualization of tools with additional functions for the assembly from components. The acquisition of tools with their geometric and technological presentation offers extensive support of the NC planning with EXAPT systems. 2003 EXAPTpdo is available to optimize the process chains in production planning and production execution optimally regarding the increasing requirements of changing production conditions. 2004 Diverse system extensions are made in EXAPTplus, EXAPTsolid, EXAPT NC editor, EXAPTpdo for the complete machining on turning/milling centres with result reliability because of more extensive simulation based on realNC (Tecnomatix), for the use of new complex tool systems and the compound use between ERP systems as SAP and intelligent CNC systems. In the following year, EXAPTpdo is extended for the cross-order set-up optimization and provision of manufacturing re-sources especially for single and small series production with connection to purchase and physical portfolio management. 2006 The EXAPT systems are available for extended use as an information platform for production, the time management, and similar requirements. EXAPTsolid is extended for the feature-oriented milling operation and machine simulation. The NC programming of complex machine tools, e.g. three-turret-turning/milling centers is supported by EXAPT systems, as well as the use of multi-functional tools. 2007 A module for 3-5-axis simultaneous milling machining is presented.
Recruitee
Tellent Recruitee is a cloud-based applicant tracking system (ATS) for talent acquisition owned by Tellent. It is used by internal HR teams for processes including job postings, candidate sourcing, reporting, and applicant tracking. == History == Perry Oostdam and Pawel Smoczyk founded Recruitee after working on a mobile gaming startup. The Recruitee was launched in August 2015. In September 2015, it received a seed funding round with participation from investors Robert Pijselman and Luc Brandts. Merger In February 2021, Recruitee and the Finnish HR software provider Sympa merged their operations, backed by the growth equity firm Providence Strategic Growth (PSG). Acquisition In 2022, the group acquired the French company Javelo and the German company kiwiHR. The parent company was subsequently renamed as Tellent while Recruitee renamed as Tellent Recruitee and continues to operate as a product unit within the Tellent group. == Platform == Tellent Recruitee is a customizable recruitment software. It functions as an ATS and talent acquisition platform and includes tools to create and publish job listings, source candidates, manage recruitment agencies, and track applicants through customizable pipelines. The interface allows drag-and-drop organization of candidates. The platform also includes features for team collaboration, such as shared notes, task assignments, and candidate evaluations. It also has integrated scheduling tools and automated email communication. Tellent Recruitee also provides analytics and reports on hiring and career site metrics. The software allows for customization of career site pages and application forms. It supports integrations with other HR and productivity software, such as WhatsApp, and has various AI functionalities to support with manual recruitment tasks.
Akoma Ntoso
Akoma Ntoso (Architecture for Knowledge-Oriented Management of African Normative Texts using Open Standards and Ontologies, AKN) is an international technical standard for representing legal documents (executive, legislative, and judiciary) in a structured manner using a domain specific, legal XML vocabulary. The term akoma ntoso means "linked hearts" in the Akan language of West Africa. Akoma Ntoso is a legal document standard designed to serve as a basis for modern machine-readable and fully digital legislative and judicial processes. This is achieved by providing a coherent syntax and well-defined semantics to represent legal documents in a digital format. It is designed to be suitable as a common exchange format in all parliamentary, legal and judicial systems around the world. Taking advantage of the shared heritage present in all legal systems, Akoma Ntoso has been developed to have ample flexibility to respond to all the differences in texts, languages, and legal practices. Aiming to expand on certain common practices, the standard therefore has a broad scope. It includes a common extensible model for data (the document content) and metadata (such as bibliographic information and annotations). Specifically, as a common legal document standard for the interchange of legal documents it is designed to be highly flexible in its support of documents and functionalities, maintaining a large set of both structural and semantic building blocks (over 500 entities in version 3.0) for representing this wide variety of document types of virtually all legal traditions. It is extensible in order to allow for modifications to address the individual criteria of organizations or unique aspects of various legal practices and languages without sacrificing interoperability with other systems. Akoma Ntoso is as such part of a wider approach to developing open, non-proprietary technical standards for structuring legal documents and information under the name of Legal XML, which also includes formats and standards for, e.g., eContracts, eNotarization, electronic court filings, the technical representation of legal norms and rules (LegalRuleML) or technical standards for the interfaces of, e.g., litigant portal exchange platforms. Akoma Ntoso allows machine-driven processes to operate on the syntactic and semantic components of digital parliamentary, judicial and legislative documents, thus facilitating the development of high-quality information resources. It can substantially enhance the performance, accountability, quality and openness of parliamentary and legislative operations based on best practices and guidance through machine-assisted drafting and machine-assisted (legal) analysis. Embedded in the environment of the semantic web, it forms the basis for a heterogenous yet interoperable ecosystem, with which these tools can operate and communicate, as well as for future applications and use cases based on digital law or rule representation. == Definition == The Akoma Ntoso standard defines a set of machine readable electronic representations in XML format of the building blocks of parliamentary, legislative and judiciary documents. As official self-description, the standard (...) defines a set of simple, technology-neutral electronic representations of parliamentary, legislative and judiciary documents for e-services in a worldwide context and provides an enabling framework for the effective exchange of "machine readable" parliamentary, legislative and judiciary documents such as legislation, debate record, minutes, judgements, etc. Providing access to primary legal materials, parliamentary works and judiciaries documents is not just a matter of giving physical or on-line access to them. "Open access" requires the information to be described and classified in a uniform and organized way so that content is structured into meaningful elements that can be read and understood by software applications, so that the content is made "machine readable" and more sophisticated applications than on-screen display are made possible. The standard is composed of: an XML vocabulary that defines the mapping between the structure of legal documents and their equivalent in XML; specifications of an XML schema that defines the structure of legal documents in XML. They provide rich possibilities of description for several types of parliamentary, legislative and judiciary document, such as bills, acts and parliamentary records, judgments, or gazettes; a recommended naming convention for providing unique identifiers to legal sources based on FRBR model; a MIME type definition. == History and adoption == Akoma Ntoso started as an UNDESA project in 2004 within the initiative "Strengthening Parliaments' Information Systems in Africa". Its core vocabulary was created mostly by Monica Palmirani and Fabio Vitali, two professors from the Centre for Research in the History, Philosophy, and Sociology of Law and in Computer Science and Law (CIRSFID) of the University of Bologna. A first legislative text editor supporting Akoma Ntoso was developed in 2007 on the base of OpenOffice. In 2010 European Parliament developed an open source web-based application called AT4AM based on Akoma Ntoso for facilitating the production and the management of legislative amendments. Thanks to this project, the application of Akoma Ntoso could be extended to new type of documents (e.g. legislative proposal, transcript) and to other scenarios (e.g., multilingual translation process). Akoma Ntoso also was explicitly designed to be compliant with CEN Metalex, one of the other popular legal standards, which is used in the legislation.gov.uk. In 2012, the Akoma Ntoso specifications became the main working base for the activities of the LegalDocML Technical Committee within the LegalXML member section of OASIS. The "United States Legislative Markup" (USLM) schema for the United States Code (the US codified laws), developed in 2013, and the LexML Brasil XML schema for Brazilian legislative and judiciary documents, developed before, in 2008, were both designed to be consistent with Akoma Ntoso. The United States Library of Congress created the Markup of US Legislation in Akoma Ntoso challenge in July 2013 to create representations of selected US bills using the most recent Akoma Ntoso standard within a couple months for a $5000 prize, and the Legislative XML Data Mapping challenge in September 2013 to produce a data map for US bill XML and UK bill XML to the most recent Akoma Ntoso schema within a couple months for a $10000 prize. The National Archives of UK converted all the legislation in AKN in 2014. The availability of bulk legislation "moved the UK's ranking from fourth to first, in the 2014 Global Open Data Index, for legislation". The Senate of Italian Republic provides, since July 2016, all the bills in Akoma Ntoso as bulk in open data repository. The German Federal Ministry of the Interior started the project Elektronische Gesetzgebung ("Electronic Legislation") in 2015/2016 and published Version 1.0 of the German application profile "LegalDocML.de" in March 2020. The projects aim is to digitalize the entire legislative lifecycle from drafting to publication. Germany decided to adopt a model-driven development approach to creating and providing a subschema-based application profile in order to ensure interoperability among organizationally independent actors, each with their respective IT landscapes and tools. In this initial version LegalDocML.de covers draft bills in the form of laws, regulations and general administrative directives. As part of an ongoing development process, the standard could incrementally be expanded in future stages to include all relevant document types of parliamentary, legislative and promulgation processes and tools. The High-Level Committee on Management (HLCM), part of the United Nations System Chief Executives Board for Coordination, set up a Working Group on Document Standards that approved in April 2017 to adopt Akoma Ntoso as standard for modeling its documentation. Akoma Ntoso in its version 1.0 is finally adopted as OASIS standard in the frame of LegalDocML in August 2018.
Iron Man 2020 (event)
"Iron Man 2020" is a storyline published by Marvel Comics in 2020 which follows the character Arno Stark as he attempts to take over Stark Industries and the mantle of his estranged brother Tony Stark (Iron Man). The crossover characters of two different brands meeting up in one storyline received mixed reviews from critics. == Publication history == Marvel Comics released the teaser for the event at New York Comic Con in November 2019. It was also alluded to in December 2019's Incoming! In the original checklist released for the event, 2020 Force Works was originally titled Force Works 2020, while 2020 Machine Man was previously named Machine Man 2020, and so on. Additionally, 2020 Wolverine was going to be called Weapon.EXE 2020. The publication of this event was intended to span from January to June 2020, however, due to the COVID-19 pandemic, Diamond Comic Distributors suspended the distribution of new print titles between April 1 and May 27, which also caused digital releases by Marvel Entertainment to be postponed. The rescheduling of the postponed issues to new dates pushed the event's conclusion to August, and certain issues, namely 2020 Force Works #3 and 2020 Ironheart #1–2, were released exclusively in a digital format. == Main plot == Arno Stark wakes up from a nightmare involving the Extinction Entity, a monstrous amalgamation of alien and machine. He dreams that the Extinction Entity is going to come to Earth in a matter of weeks and create an artificial intelligence (A.I.) army to consume humanity. After eating breakfast with duplicates of Howard Stark and Maria Stark, Arno suits up as Iron Man and saves a construction worker from a hostage situation involving several Nick Fury Life Model Decoys, which represent the A.I. army trying to liberate construction robots. Over different news outlets, the media wonders about the whereabouts of Tony Stark, who declared himself as nothing more than a simulation of the real, late Tony Stark. At the A.I. army's base, Machine Man is commanding the robots' moves when Arno appears, having planned for the A.I. army's leader to show himself. Machine Man activates the bomb, forcing Arno to fly it away so it explodes somewhere safe while he escapes. Machine Man reaches the Thirteenth Floor, a dimensional-shunted plane of existence made of solid light, and a haven for robotkind that humans cannot access or comprehend. Aaron meets with the leader of the A.I. army and creator of Thirteenth Floor: Tony Stark -- who is now going by the name Mark One, having embraced his nature as artificial intelligence. Also in the A.I. army are Albert, Awesome Android, H.E.R.B.I.E., Machinesmith, and Quasimodo. The A.I. army continues its efforts to liberate artificial life forms by raiding places where robots are being subjugated. Iron Man intercepts an attack on a Futura Motors testing site by Quasimodo and H.E.R.B.I.E. and manages to recover an Un-Inhibitor allowing him to take control of all A.I.s. On the Thirteenth Floor, Mark One receives a transmission from a mole inside Baintronics -- codenamed Ghost in the Machine --revealing that Arno used the submission code on Jocasta, who received a new body, making her entirely compliant. Stark plans to upload the submission code to the internet to instantly infect robots. With only three hours before the code is transmitted to Stark Unlimited's satellite network, Mark One devises a heist on Bain Tower to tamper with the code before launch. Having discovered the secret behind the Thirteenth Floor, Arno shuts out the A.I. army, uses Jocasta to lure Machine Man away from the tower, infects Machinesmith with the submission code, and confronts Mark One. H.E.R.B.I.E., Awesome Android, and Machinesmith escape from Bain Tower and call for help to every robot in New York City. Mark One is left to fight Iron Man and is defeated. Meanwhile, Sunset Bain confronts and fires Andy Bhang under the accusation of working as a mole inside Stark Unlimited and feeding Bethany Cabe information to relay to the A.I. army. Arno takes Mark One inside Bain Tower to meet Howard and Maria Stark and asks Tony to join him, but he refuses and dismisses his rationale as lunacy. The robotic mob assembled by Machine Man reaches Bain Tower, giving Mark a distraction which allows him to fly off and disable the transmission dish from which Arno intends to broadcast the obedience O.S. to subjugate every robot. Tony manages to stop the upload and make the antenna unusable. In retaliation, Arno fires all of his armor's firepower at Tony as he falls to the ground. Tony Stark's remaining allies escape with his body as Arno attacks the robot protesters. Tony wakes up inside the Thirteenth Floor and is greeted by F.R.I.D.A.Y., who had plucked Tony's consciousness from his body during his fall. In the streets, Arno Stark tracks down Howard and Maria, who die from an illness inherited from Arno. When Sunset Bain objects to Arno creating new bodies for his parents and trying to control people, he reveals she is an A.I., a duplicate of the real Bain whom Arno replaced back when she solicited him to heal a scar on her face. He makes new bodies for Howard and Maria by recreating the Arsenal and Mistress bodies from the eScape. After learning of Arno's new plan, Dr. Shapiro (who is the actual mole) sneaks into a computer and warns F.R.I.D.A.Y. about it. When F.R.I.D.A.Y. relays that only Tony Stark can stop Arno, Tony insists that he is not the real Tony Stark, but is confronted by holographic manifestations of himself in different points of his life, until they all merge into him and he acknowledges that he has always been Tony. As Arno Stark sets off to the Stark Space Station to install his mind-controlling device to enslave all of humanity, Tony Stark's allies assault the Stark Unlimited HQ, confronting Sunset Bain's duplicate and Arno's Iron Legion. Jocasta uploads a submission code to Bain and they place Tony's body inside a bio-pod that restores his body to normalcy, uploads his consciousness back into his body. Using the Thirteenth Floor's access mechanisms, Tony and his allies reach the Stark Space Station from one of the elevators within. Employing his new Virtual Armor, Tony defeats Arno in combat. When Arno prepares to activate his mind-controlling device, the Extinction Entity suddenly appears. Arno ultimately defeats the Extinction Entity by willingly assimilating with it, causing it to explode. The entity is revealed to be a delusion caused by Arno's terminal disease, of which he would die by the end of 2020. Unable to stop Arno, Tony placed him in a simulation where he successfully stopped the entity. Afterwards, Jocasta uses the submission code to force Sunset Bain's duplicate to confess all of Baintronics' crimes, also claiming responsibility for tricking Tony into thinking he was an artificial intelligence and pulling the strings of the A.I. Army, putting an end to the robot revolution. Tony gives up Stark Unlimited to Bhang Robotics and he flies off in a new armor, reasserting himself as Iron Man. == Issues involved == === Main issues === Iron Man 2020 (vol. 2) #1–6 === Tie-In issues === 2020 Force Works #1–3 2020 Iron Age #1 2020 Ironheart #1–2 2020 Machine Man #1–2 2020 Rescue #1–2 2020 iWolverine #1–2 == Critical reception == According to Comic Book Roundup, the entire crossover received an average score of 6.4 out of 10 based on 36 reviews. William Tucker from ButWhyTho Podcast stated "Iron Man 2020 #6 is an initially exciting end to a great event that eventually feels deflated. There is absolutely nothing wrong with the art, Woods has been incredible throughout, but the ending that Slott and Gage chose to round out an epic tale like this left me feeling cold. And while there were loads of enjoyable cameos, their involvement ultimately didn't seem important to the story as a whole. Which is disappointing, as the rest of the event really was a fun and exciting ride." Anthony Wendel from MonkeysFightingRobots wrote "The 2020 event seems like it is taking some big risk, and it doesn't inspire a lot of confidence from the start. Iron Man 2020 #1 has set the stakes and shown some very intense players on both sides of the board. Sadly, if it doesn't unfold just the right way, many may feel cheated about defending the path characters are taking." == Collected editions ==
Libby Heaney
Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)
Celia (virtual assistant)
Celia is an artificially intelligent virtual assistant developed by Huawei for their latest HarmonyOS and Android-based EMUI smartphones that lack Google Services and a Google Assistant. The assistant can perform day-to-day tasks, which include making a phone call, setting a reminder and checking the weather. It was unveiled on 7 April 2020 and got publicly released on 27 April 2020 via an OTA update solely to selected devices that can update their software to EMUI 10.1. Huawei had initially referred to the new assistant in late 2019 by having announced that there would be an English version of their already 2018 Chinese speaker assistant—Xiaoyi—to be released into the European markets. Due to the on-going China–United States trade war, the company's newly released smartphones were left without any Google services, including the loss of Google Assistant. This subsequently led to the development and release of Celia. AI technology is integrated into the software of Celia, which allows it to translate text using a phones camera and to identify everyday objects — similar to that of Google Lens. == Features == Celia has many features that are similar to that of its rivals: the Google Assistant and Siri. It can be triggered by the words, 'Hey Celia' or be summoned by pressing and holding down on the power button. The default search engine for Celia is Bing, but this can be changed in settings. Celia can make calls, check the agenda, send a message, show the weather, set alarms and control home appliances. The assistant also has the ability to integrate itself with the stock apps of the EMUI software and toggle with the device's settings, such as by turning on the flashlight and playing multimedia content, but with the users command. With the AI that is installed in Celia, it can identify food, everyday objects and translate text using the phones camera. In China, Chinese Xiaoyi packs with an LLM model called PanGu-Σ 3.0 AI on HarmonyOS 4.0 major upgrade improvements from Celia, making the assistant smarter and more advanced compared to when it was launched in 2020 on EMUI handsets in China and internationally, surpassing Apple and Google by the being the first in the AI industry, with a dedicated AI system framework of APIs on the latest operating system that evolves to a complete large dedicated AI software stack called Harmony Intelligence of Pangu Embedded variant model and MindSpore AI framework with Neural Network Runtime on OpenHarmony-based HarmonyOS NEXT base system to replace the dual framework system with a single frame HarmonyOS 5.0 version by Q4 2024, first introduced on June 21, 2024, in Developer Beta 1 preview release at HDC 2024. == Availability by country and language == Currently, Celia is available only in German, English, French and Spanish, and has been released in Germany, the UK, France, Spain, Chile, Mexico and Colombia. Huawei has said, that there will be more regions and languages to come. == Compatible devices == Celia only became available with the EMUI 10.1 update that was released in April, which means that a limited number of devices are compatible with it. More devices will be added to the list throughout the coming months as Celia's availability increases. The current list is shown below: === Huawei P series === Huawei P50 (Pro) Huawei P40 (Lite, Pro & Pro+) Huawei P30 (Pro) === Huawei Mate series === Huawei Mate 40 Huawei Mate 30 (Lite, Pro & RS Porche Design) Huawei MatePad Pro Huawei Mate 20 (Pro, 20X 4G, 20X 5G and RS Porche Design) Huawei Mate X & Xs === Huawei Nova series === Huawei Nova 6 (Nova 6 5G & Nova 6 SE) Huawei Nova 5 (Nova 5 Pro, Nova 5i Pro & Nova 5Z) Huawei Nova Y60 === Huawei Enjoy series === Huawei Enjoy 10S == Issues == Technology news website Engadget has noted that when saying, 'Hey Celia', out aloud in the presence of an iPhone, Siri will respond along with Celia; this is apparently because 'Celia' sounds similar to 'Siri'.
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