The online public access catalog (OPAC), now frequently synonymous with library catalog, is an online database of materials held by a library or group of libraries. Online catalogs have largely replaced the analog card catalogs previously used in libraries. == History == === Early online === Although a handful of experimental systems existed as early as the 1960s, the first large-scale online catalogs were developed at Ohio State University in 1975 and the Dallas Public Library in 1978. These and other early online catalog systems tended to closely reflect the card catalogs that they were intended to replace. Using a dedicated terminal or telnet client, users could search a handful of pre-coordinate indexes and browse the resulting display in much the same way they had previously navigated the card catalog. Throughout the 1980s, the number and sophistication of online catalogs grew. The first commercial systems appeared, and would by the end of the decade largely replace systems built by libraries themselves. Library catalogs began providing improved search mechanisms, including Boolean and keyword searching, as well as ancillary functions, such as the ability to place holds on items that had been checked-out. At the same time, libraries began to develop applications to automate the purchase, cataloging, and circulation of books and other library materials. These applications, collectively known as an integrated library system (ILS) or library management system, included an online catalog as the public interface to the system's inventory. Most library catalogs are closely tied to their underlying ILS system. === Stagnation and dissatisfaction === The 1990s saw a relative stagnation in the development of online catalogs. Although the earlier character-based interfaces were replaced with ones for the Web, both the design and the underlying search technology of most systems did not advance much beyond that developed in the late 1980s. At the same time, organizations outside of libraries began developing more sophisticated information retrieval systems. Web search engines like Google and popular e-commerce websites such as Amazon.com provided simpler to use (yet more powerful) systems that could provide relevancy ranked search results using probabilistic and vector-based queries. Prior to the widespread use of the Internet, the online catalog was often the first information retrieval system library users ever encountered. Now accustomed to web search engines, newer generations of library users have grown increasingly dissatisfied with the complex (and often arcane) search mechanisms of older online catalog systems. This has, in turn, led to vocal criticisms of these systems within the library community itself, and in recent years to the development of newer (often termed 'next-generation') catalogs. === Next-generation catalogs === Newer generations of library catalog systems, typically called discovery systems (or a discovery layer), are distinguished from earlier OPACs by their use of more sophisticated search technologies, including relevancy ranking and faceted search, as well as features aimed at greater user interaction and participation with the system, including tagging and reviews. These new features rely heavily on existing metadata which may be poor or inconsistent, particularly for older records. Newer catalog platforms may be independent of the organization's integrated library system (ILS), instead providing drivers that allow for the synchronization of data between the two systems. While the original online catalog interfaces were almost exclusively built by ILS vendors, libraries have increasingly sought next-generation catalogs built by enterprise search companies and open-source software projects, often led by libraries themselves. == Union catalogs == Although library catalogs typically reflect the holdings of a single library, they can also contain the holdings of a group or consortium of libraries. These systems, known as union catalogs, are usually designed to aid the borrowing of books and other materials among the member institutions via interlibrary loan. Examples of this type of catalogs include COPAC, SUNCAT, NLA Trove, and WorldCat—the last catalogs the collections of libraries worldwide. == Related systems == There are a number of systems that share much in common with library catalogs, but have traditionally been distinguished from them. Libraries utilize these systems to search for items not traditionally covered by a library catalog, although these systems are sometimes integrated into a more comprehensive discovery system. Bibliographic databases—such as Medline, ERIC, PsycINFO, Scopus, Web of Science, and many others—index journal articles and other research data. There are also a number of applications aimed at managing documents, photographs, and other digitized or born-digital items such as Digital Commons and DSpace. Particularly in academic libraries, these systems (often known as digital library systems or institutional repository systems) assist with efforts to preserve documents created by faculty and students. Electronic resource management helps librarians to track selection, acquisition, and licensing of a library's electronic information resources.
Viewport
A viewport is a polygon viewing region in computer graphics. In computer graphics theory, there are two region-like notions of relevance when rendering some objects to an image. In textbook terminology, the world coordinate window is the area of interest (meaning what the user wants to visualize) in some application-specific coordinates, e.g. miles, centimeters etc. The word window as used here should not be confused with the GUI window, i.e. the notion used in window managers. Rather it is an analogy with how a window limits what one can see outside a room. In contrast, the viewport is an area (typically rectangular) expressed in rendering-device-specific coordinates, e.g. pixels for screen coordinates, in which the objects of interest are going to be rendered. Clipping to the world-coordinates window is usually applied to the objects before they are passed through the window-to-viewport transformation. For a 2D object, the latter transformation is simply a combination of translation and scaling, the latter not necessarily uniform. An analogy of this transformation process based on traditional photography notions is to equate the world-clipping window with the camera settings and the variously sized prints that can be obtained from the resulting film image as possible viewports. Because the physical-device-based coordinates may not be portable from one device to another, a software abstraction layer known as normalized device coordinates is typically introduced for expressing viewports; it appears for example in the Graphical Kernel System (GKS) and later systems inspired from it. In 3D computer graphics, the viewport refers to the 2D rectangle used to project the 3D scene to the position of a virtual camera. A viewport is a region of the screen used to display a portion of the total image to be shown. In virtual desktops, the viewport is the visible portion of a 2D area which is larger than the visualization device. When viewing a document in a web browser, the viewport is the region of the browser window which contains the visible portion of the document. If the size of the viewport changes, for example as a result of the user resizing the browser window, then the browser may reflow the document (recalculate the locations and sizes of elements of the document). If the document is larger than the viewport, the user can control the portion of the document which is visible by scrolling in the viewport.
Emotion-sensitive software
Emotion-sensitive software (ESS) is software specifically designed to target and monitor emotional response in a human being. Some software measures anger by comparing the pitch of a voice to a regular, or calm, pitch. Another approach is the measurement of physical appearance. If a camera or similar recording device picks up a certain amount of red pigmentation in the skin the system can be alerted that this person is angered. The competitive landscape in the Electronic Surveillance Software (ESS) industry is marked by a high level of secrecy regarding the operational details of these software systems. Many producers deliberately withhold information about the inner workings of their ESS products, a strategy that serves dual purposes: firstly, it intensifies competition among companies in the sector, as each strives to maintain a unique edge without revealing trade secrets that could be leveraged by competitors; secondly, this secrecy acts as a deterrent against individuals or entities who might try to circumvent the surveillance mechanisms. One application of ESS was developed by University of Notre Dame Assistant Professor of Psychology Sidney D'Mello, Art Graesser from the University of Memphis and a colleague from Massachusetts Institute of Technology. They used the technology to create an electronic tutor that could assess a student's level of boredom and frustration based on facial expression and body language, and react accordingly.
AI: When a Robot Writes a Play
AI: When a Robot Writes a Play (in Czech: AI: Když robot píše hru) is a 2021 experimental theatre play, where 90% of its script was automatically generated by artificial intelligence (the GPT-2 language model). The play is in Czech language, but an English version of the script also exists. == Creation == The play is the first result of the THEaiTRE research project, aiming to commemorate the centenary of the R.U.R. play by Karel Čapek by investigating to what extent artificial intelligence could be used to create theatre play scripts. The script of the play was created using the THEaiTRobot tool, based on the GPT-2 language model. First, the play dramaturge, David Košťák, described the initial setting of each scene in a few sentences, and wrote the first line for each character. Next, THEaiTRobot suggested a continuation of the script, which the dramaturge could use, reject, or use part of it and let the tool generate a new continuation. Another option was to manually insert another line or a scenic remark. The script was generated in English and was automatically translated to Czech by the state-of-the-art CUBBITT machine translation tool. The resulting script was then further post-edited by the dramaturge. The resulting script was made freely available for non-commercial use both in English and in Czech, with marked manually inserted texts and manual edits. The analysis shows that 90% of the English script is automatically generated, with 10% manually written or manually post-edited. In the Czech script, a larger amount of edits were made, but the analysis claims that these additional edits are corrections of errors of the automated translation and stylistic corrections which do not change the meaning of the lines as represented by the English script, but rather bring the Czech script closer to the English one. == Characters == The play contains 9 characters. The Robot appears in all the scenes, while each of the other characters appears in only one scene. Robot – The lead character, a male humanoid robot. Master – An old man, the creator of the Robot. Boy – A schoolboy. Masseuse – A sex worker in a brothel. Stranger – An engineer. Man. Psychologist. Administrator – A female clerk at an employment agency. Actress – A film actress and a model in a robot-like costume. == Plot == The play is composed of 8 scenes. It tells the story of a humanoid robot, who encounters 8 other characters and engages into various typically human situations and activities, related to death, love, sex, violence, etc. The individual scenes are not tightly linked, but there are some linking points, such as the central character of the robot or some repeated and developing themes, such as the robot's search for love. The scenes often contain some absurd turns and it is often hard to find sense in them. It is therefore a very complicated piece interpretationally, requiring the director and the actors to invest a lot of effort and creativity in finding a meaningful interpretation which would not deviate from the script. In the interpretation by Švanda theatre, who premiered the play and who also participated on the creation of the script, the scenes typically contain non-verbally expressed content which can add a lot to the meaning of the scene compared to what is contained in the actual script (as the script only contains the lines said by the characters). === Scene 1: Death === The play opens by the Robot parting with his dying Master. The Master gives the Robot several last lessons and talks with him about death, soul, and love. === Scene 2: Sense of Humour === In the second scene, the Robot meets a sad and angry Boy, who complains that he wants to go to school, that his girlfriend is crazy, that he wants to buy a car, etc. The Robot tries to help the Boy by giving him advice, but the Boy's reactions are quite negative and irritated. The Boy then repeatedly asks the Robot to tell him a joke; the Robot keeps refusing, but ultimately tells the following joke: When you are dead. When your children are dead. When your grandchildren are dead, I will be still alive. === Scene 3: Nightclub === The Robot wants to feel pleasure, so he goes to a "night club" (a brothel), where he meets a "Masseuse" (a prostitute). The Robot is initially "a bit cold", but eventually manages to enjoy the experience and falls in love with the Masseuse. In the Švanda theatre performance, the Robot and the Masseuse seem to have a sort of virtual sex without touching each other, reminiscent of the sex scene in Demolition Man. === Scene 4: Fear of the Dark === It is the night. The Robot is standing under a lamp, unable to move away from the light as he finds that he is afraid of the dark. He meets a Stranger, an engineer who tells him that robots don't have feelings and that people cannot be trusted, and keeps hurting him. In the Švanda theatre performance, the Man repeatedly zaps the Robot with some kind of electric pulse. === Scene 5: Killer Robot === A Man approaches the Robot and repeatedly asks him to kill him. Instead, the Robot sticks a finger into the Man's anus, which leads to an argument between the Man and the Robot. === Scene 6: Burn Out === The Robot meets a Psychologist, who keeps asking him lots of questions regarding his life, burnout feeling, love, relationships, and emotions. They also talk about the Robot using a device called emotion machine which helps him to get rid of stress. === Scene 7: Search for Job === The Robot comes to an employment agency. He meets an Administrator and asks her to help him find a job. He expresses the wish to become an actor, and talks about his experience as a clown. He reveals his name to be Troy McClure, which is a character from The Simpsons who is an actor. In the Švanda theatre performance, the Administrator starts to seduce the Robot once his name is revealed, which he keeps ignoring; the Administrator then becomes irritated. === Scene 8: Love at First Sight === The Robot meets a human Actress in a robotic costume and falls in love with her immediately. The Actress is first reluctant, but the Robot manages to seduce her and she also falls in love with him. The Robot tells her about a binary world, in which he lives and where he will also take her. Ultimately, the Actress agrees, and the whole play concludes by the Robot and the Actress promising each to other to always be together. In the Švanda theatre performance, the Robot does not have a physical body in this scene, we can only hear his voice and see a pulsating light (based on the line in the script where the Robot says: "I have no body. So I don't need to wear clothes. You can't see me, you only hear me."), and the Actress eventually also agrees to lose her physical body so that she can be with the Robot forever. == Theatrical performances == The play premiered on 26 February 2021 in Švanda Theatre in Prague, Czech Republic, directed by Daniel Hrbek. Due to the COVID-19 pandemic, the play was not played in front of a live audience, but it was broadcast online, in Czech language with English subtitles. The play was followed by a panel discussion by the project members and experts on artificial intelligence. The premiere was viewed by 13,498 spectators worldwide. A short trailer of the premiere is available on YouTube. In 2021, after the opening of the theatres in the Czech Republic to spectators, the play can be viewed at Švanda Theatre. The performance takes approximately 60 minutes, and is followed by a discussion of the creators with the audience. The derniere is planned for 4 February 2023. == Reception == The play received a number of reviews, both in its country of origin as well as internationally. It is praised as first of its kind, although some reviewers note the similarity to previous works, such as the musical Beyond the Fence, the play Lifestyle of the Richard and Family, or the short movie Sunspring; however, these works used less advanced technology, and either were very short (Sunspring) or necessitated a larger amount of human interventions. The reviewers note that the script is far from perfect, with many inconsistencies and nonsensical parts, and conclude that the technology is definitely not yet ready to replace human authors; however, some find some parts of the script frighteningly human-like. The amount of human intervention is a somewhat controversial topic, with some reviewers finding the human influence too large (especially in interpreting the script and putting the play on scene), while others feel that a greater amount of human intervention would have been favorable as this could greatly improve the quality of the play. The reviews also frequently comment on the amount of sex, violence and strong language in the play; this can be attributed to the method used for creating the script, where the GPT-2 language model reflects topics and language common in the human-written articles on the internet that were used to train the model. Furthermore, some r
Principles for a Data Economy
The Principles for a Data Economy – Data Rights and Transactions is a transatlantic legal project carried out jointly by the American Law Institute (ALI) and the European Law Institute (ELI). The Principles for a Data Economy deals with a range of different legal questions that arise in the data economy. Since data is different from other tradeable items, the Principles draw up legal rules for data transactions and data rights that take into account the interests of different stakeholders involved in the data economy. The Principles are designed to facilitate contractual relations as well as the drafting of model agreements and can guide courts and legislators worldwide. The project proposes a set of principles that can be implemented in any legal system and is designed to work in conjunction with any kind of data privacy/data protection law, intellectual property law or trade secret law. The Principles do not address or seek to change any of the substantive rules of these bodies of law. The Project Team consists of Neil B Cohen and Christiane Wendehorst (as Project Reporters) and Lord John Thomas as well as Steven O. Weise (as Project Chairs). == Characteristics of data == The law governing trades in commerce has historically focused on trade in items that are tangible like goods or on intangible assets, such as shares or licenses. However, data does not fit into any of these traditional categories, nor does it qualify as a service. It is often unclear how traditional legal rules and doctrines can apply to data, as data is different from other assets in many ways. For example, data can be multiplied at basically no cost and can be used in parallel for a variety of different purposes by many different people at the same time (data is a “non-rivalrous” resource). Uncertainty regarding the applicable rules to govern the data economy may inhibit innovation and growth and trouble stakeholders like data-driven industries, start-ups, and consumers. == Stakeholders in the data economy == The Principles have taken the basic types of players and relations which can be found in data ecosystems as a starting point to provide guidance in different situations. The central actors in the data economy are data controllers (also called “data holders”). They are in a position to access the data and decide for which purposes and means this data should be processed. A controller may exercise control all by itself or share it with co-controllers, such as under a data pooling arrangement. Data processors provide the processing of data on a controller’s behalf as a service. Another important group of stakeholders includes those that contribute to the generation of data (e.g. data subjects). Other players in the data economy include data assemblers or data intermediaries (e.g. data trusts). == History of the project and timeline == Before the official adoption of the project by ALI and ELI bodies in 2018, the project team carried out a Feasibility Study from October 2016 to February 2018. In the following years, the project team produced a number of drafts (e.g. “Preliminary Drafts” No. 1 to 4, “Tentative Draft No. 1”) and project progress were regularly discussed with advisory bodies and members of both the ALI and the ELI. The project reporters also included feedback and insights from industry stakeholders and experts that was gained after several meetings and workshops, hosted, inter alia by UNCITRAL, UNIDROIT and several national governmental institutions. Tentative Draft No. 2 was presented at the ALI Annual Meeting in May 2021 and approved by ALI membership. The latest draft ("Final Council Draft") was also approved by the ELI Council and ELI Membership. The Principles for a Data Economy were presented at an international conference with representatives from institutions such as the Uniform Law Commission (ULC), the European Commission, UNIDROIT, the OECD, the International Chamber of Commerce (ICC) and the World Economic Forum (WEF) in October 2021. == Project structure == The current draft (“Tentative Draft No. 2”) of the Principles consists of five Parts that each governs different aspects of the data economy: General Provisions, Data Contracts, Data Rights, Third Party Aspects of Data Activities, and Multi-State Issues. === General Provisions === Part I includes general provisions that apply to all other Parts of the Principles for a Data Economy. This Part sets out the purpose of the Principles: they aim to make existing law in the field of the data economy more coherent and support the development of the law in this field by courts and legislators worldwide. It is also clarified that the Principles have a wide scope of application and can be used in a variety of ways by stakeholders in the data economy. The Principles may, for example, serve private parties as a basis for contract formation, guide the deliberations of arbitral tribunals or inspire national legislation. Part I then defines several key terms, such as ‘digital data’ and ‘data right’. The scope of the Principles is limited to matters where information is recorded as an asset, resource or tradeable commodity and where large amounts of data, rather than single pieces of information, are concerned. This Part also clarifies that remedies with respect to data contracts and data rights are left to the applicable national law. === Data Contracts === Part II lists different types of contracts that often occur in the data economy and establishes two broad categories, namely contracts for the supply and sharing of data and contracts for services with regard to data. Contracts for the supply and sharing of data include, e.g. data transfer contracts or data pooling arrangements, while contracts for services with regard to data cover contracts for the processing of data or data intermediary contracts. The Principles provide default terms for each contract type, on issues such as the manner in which data should supply or which characteristics the data supplied should meet. These default terms 'automatically' become part of the contract unless the parties agree otherwise. === Data Rights === Part III governs legally protected interests of players in the data economy that stem from the characteristics of data as a resource (e.g. its non-rivalrous nature) or from public interest considerations. Such data rights may include the right to data access, the right to require the controller to desist from data activities or to correct incorrect/incomplete data, or even to receive an economic share in profits derived from the use of data. For example, the Principles deal with data rights of stakeholders that had a share in the co-generation of data and identify different factors to be considered in determining whether to afford a party a data right. The underlying idea that parties who have contributed to the generation of data should have some rights in the utilization of the data is also recognized by governmental institutions, such as by the Japanese Ministry of Economy, Trade and Industry (METI), and the term co-generated data, which was coined by the Principles for a Data Economy, has been adopted, inter alia by the European Commission, the German Data Ethics Commission and the Global Partnership on Artificial Intelligence (GPAI). This Part also deals with data rights for the public interest, such as data sharing rights in the field of innovation. === Third Party Aspects === Part IV governs different situations in which data transactions interfere with the rights of third parties. Such rights include intellectual property rights or rights derived from data privacy or data protection law. This Part sets out under which circumstances data activities should be considered wrongful vis à vis another party. For example, a data activity (like data processing or the onward supply of data) could be considered wrongful, if a controller interferes with the rights of data subjects that are protected by data-protection law. A data activity could also be wrongful if the controller is non-compliant with contractual limitations on data activities, enforceable by the protected party (e.g. a controller may only process data for a certain purpose). If someone obtained access to data by unauthorized means (i.e. data “theft”) this could also be considered wrongful. The Part on Third-Party Aspects also takes a detailed look at the effects of the onward supply of data can have on third parties, while balancing the protection of third parties on the one hand, with the interests of data recipients and the desire to encourage data sharing on the other. === Multi-State Issues === As transactions in the data economy are international by nature and hardly occur within one legal system alone, the Part V of the Principles also briefly touches upon the applicability of the rules and doctrines of private international law to such transactions. == Links == Website of the “Principles for a Data Economy – Data Rights and Transaction
Intel Threat Detection Technology
Intel Threat Detection Technology (TDT) is a CPU-level technology created by Intel in 2018 to enable host endpoint protections to use a CPU's low-level access to detect threats to a system. TDT consists of multiple components including Accelerated Memory Scanning, which uses the CPU's integrated GPU to scan memory, and Advanced Platform Telemetry, which uses processor-level activity monitoring to detect unusual activity. It is supported on sixth-generation or newer Intel Core CPUs and additional capabilities were added to the 11th generation Core processors. Intel TDT is integrated into several third-party anti-malware solutions including Microsoft Defender, Check Point Harmony Endpoint, CrowdStrike Falcon, and others. == Accelerated Memory Scanning == Accelerated Memory Scanning (also referred to as "Advanced Memory Scanning") uses the CPU's integrated GPU to scan memory for malicious code, instead of using the CPU directly. This improves system responsiveness during anti-malware scanning. and lowers power consumption. Features include pattern matching, using random forest decision trees, string extraction, entropy calculation, and Euclidean clustering. == Advanced Platform Telemetry == Advanced Platform Telemetry collects CPU-level telemetry to detect uncommon activity patterns which might be indicative of malware. The telemetry data is collected from the CPU performance monitoring unit (PMU) and doesn't require a large signature database to detect malware. Instead, it uses machine-learning based correlations to identify indicators of attack For example, Microsoft Defender is able to use TDT's Advanced Platform Telemetry features to detect processor usage patterns indicative of ransomware and cryptojacking with TDT so it can detect them.
Artificial imagination
Artificial imagination is a narrow subcomponent of artificial general intelligence which generates, simulates, and facilitates real or possible fiction models to create predictions, inventions, or conscious experiences. The term artificial imagination is also used to describe a property of machines or programs. Some of the traits that researchers hope to simulate include creativity, vision, digital art, humor, and satire. Practitioners in the field are researching various aspects of Artificial imagination, such as Artificial (visual) imagination, Artificial (aural) Imagination, modeling/filtering content based on human emotions and Interactive Search. Some articles on the topic speculate on how artificial imagination may evolve to create an artificial world "people may be comfortable enough to escape from the real world". Some researchers such as G. Schleis and M. Rizki have focused on using artificial neural networks to simulate artificial imagination. Another important project is being led by Hiroharu Kato and Tatsuya Harada at the University of Tokyo in Japan. They have developed a computer capable of translating a description of an object into an image, which could be the easiest way to define what imagination is. Their idea is based on the concept of an image as a series of pixels divided into short sequences that correspond to a specific part of an image. The scientists call this sequences "visual words" and those can be interpreted by the machine using statistical distribution to read an create an image of an object the machine has not encountered. The topic of artificial imagination has garnered interest from scholars outside the computer science domain, such as noted communications scholar Ernest Bormann, who came up with the Symbolic Convergence Theory and worked on a project to develop artificial imagination in computer systems. An interdisciplinary research seminar organized by the artist Grégory Chatonsky on artificial imagination and postdigital art has taken place since 2017 at the Ecole Normale Supérieure in Paris. == Use in interactive search == The typical application of artificial imagination is for an interactive search. Interactive searching has been developed since the mid-1990s, accompanied by the World Wide Web's development and the optimization of search engines. Based on the first query and feedback from a user, the databases to be searched are reorganized to improve the searching results. Artificial imagination allows us to synthesize images and to develop a new image, whether it is in the database, regardless its existence in the real world. For example, the computer shows results that are based on the answer from the initial query. The user selects several relevant images, and then the technology analyzes these selections and reorganizes the images' ranks to fit the query. In this process, artificial imagination is used to synthesize the selected images and to improve the searching result with additional relevant synthesized images. This technique is based on several algorithms, including the Rocchio algorithm and the evolutionary algorithm. The Rocchio algorithm, locating a query point near relevant examples and far away from irrelevant examples, is simple and works well in a small system where the databases are arranged in certain ranks. The evolutionary synthesis is composed of two steps: a standard algorithm and an enhancement of the standard algorithm. Through feedback from the user, there would be additional images synthesized so as to be suited to what the user is looking for. == General artificial imagination == Artificial imagination has a more general definition and wide applications. The traditional fields of artificial imagination include visual imagination and aural imagination. More generally, all the actions to form ideas, images and concepts can be linked to imagination. Thus, artificial imagination means more than only generating graphs. For example, moral imagination is an important research subfield of artificial imagination, although classification of artificial imagination is difficult. Morals are an important part to human beings' logic, while artificial morals are important in artificial imagination and artificial intelligence. A common criticism of artificial intelligence is whether human beings should take responsibility for machines' mistakes or decisions and how to develop well-behaved machines. As nobody can give a clear description of the best moral rules, it is impossible to create machines with commonly accepted moral rules. However, recent research about artificial morals circumvent the definition of moral. Instead, machine learning methods are applied to train machines to imitate human morals. As the data about moral decisions from thousands of different people are considered, the trained moral model can reflect widely accepted rules. Memory is another major field of artificial imagination. Researchers such as Aude Oliva have performed extensive work on artificial memory, especially visual memory. Compared to visual imagination, the visual memory focuses more on how machine understand, analyse and store pictures in a human way. In addition, characters like spatial features are also considered. As this field is based on the brains' biological structures, extensive research on neuroscience has also been performed, which makes it a large intersection between biology and computer science.