A metadirectory system provides for the flow of data between one or more directory services and databases in order to maintain synchronization of that data. It is an important part of identity management systems. The data being synchronized typically are collections of entries that contain user profiles and possibly authentication or policy information. Most metadirectory deployments synchronize data into at least one LDAP-based directory server, to ensure that LDAP-based applications such as single sign-on and portal servers have access to recent data, even if the data is mastered in a non-LDAP data source. Metadirectory products support filtering and transformation of data in transit. Most identity management suites from commercial vendors include a metadirectory product, or a user provisioning product.
Inception score
The Inception Score (IS) is an algorithm used to assess the quality of images created by a generative image model such as a generative adversarial network (GAN). The score is calculated based on the output of a separate, pretrained Inception v3 image classification model applied to a sample of (typically around 30,000) images generated by the generative model. The Inception Score is maximized when the following conditions are true: The entropy of the distribution of labels predicted by the Inceptionv3 model for the generated images is minimized. In other words, the classification model confidently predicts a single label for each image. Intuitively, this corresponds to the desideratum of generated images being "sharp" or "distinct". The predictions of the classification model are evenly distributed across all possible labels. This corresponds to the desideratum that the output of the generative model is "diverse". It has been somewhat superseded by the related Fréchet inception distance. While the Inception Score only evaluates the distribution of generated images, the FID compares the distribution of generated images with the distribution of a set of real images ("ground truth"). == Definition == Let there be two spaces, the space of images Ω X {\displaystyle \Omega _{X}} and the space of labels Ω Y {\displaystyle \Omega _{Y}} . The space of labels is finite. Let p g e n {\displaystyle p_{gen}} be a probability distribution over Ω X {\displaystyle \Omega _{X}} that we wish to judge. Let a discriminator be a function of type p d i s : Ω X → M ( Ω Y ) {\displaystyle p_{dis}:\Omega _{X}\to M(\Omega _{Y})} where M ( Ω Y ) {\displaystyle M(\Omega _{Y})} is the set of all probability distributions on Ω Y {\displaystyle \Omega _{Y}} . For any image x {\displaystyle x} , and any label y {\displaystyle y} , let p d i s ( y | x ) {\displaystyle p_{dis}(y|x)} be the probability that image x {\displaystyle x} has label y {\displaystyle y} , according to the discriminator. It is usually implemented as an Inception-v3 network trained on ImageNet. The Inception Score of p g e n {\displaystyle p_{gen}} relative to p d i s {\displaystyle p_{dis}} is I S ( p g e n , p d i s ) := exp ( E x ∼ p g e n [ D K L ( p d i s ( ⋅ | x ) ‖ ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x ) ] ) {\displaystyle IS(p_{gen},p_{dis}):=\exp \left(\mathbb {E} _{x\sim p_{gen}}\left[D_{KL}\left(p_{dis}(\cdot |x)\|\int p_{dis}(\cdot |x)p_{gen}(x)dx\right)\right]\right)} Equivalent rewrites include ln I S ( p g e n , p d i s ) := E x ∼ p g e n [ D K L ( p d i s ( ⋅ | x ) ‖ E x ∼ p g e n [ p d i s ( ⋅ | x ) ] ) ] {\displaystyle \ln IS(p_{gen},p_{dis}):=\mathbb {E} _{x\sim p_{gen}}\left[D_{KL}\left(p_{dis}(\cdot |x)\|\mathbb {E} _{x\sim p_{gen}}[p_{dis}(\cdot |x)]\right)\right]} ln I S ( p g e n , p d i s ) := H [ E x ∼ p g e n [ p d i s ( ⋅ | x ) ] ] − E x ∼ p g e n [ H [ p d i s ( ⋅ | x ) ] ] {\displaystyle \ln IS(p_{gen},p_{dis}):=H[\mathbb {E} _{x\sim p_{gen}}[p_{dis}(\cdot |x)]]-\mathbb {E} _{x\sim p_{gen}}[H[p_{dis}(\cdot |x)]]} ln I S {\displaystyle \ln IS} is nonnegative by Jensen's inequality. Pseudocode:INPUT discriminator p d i s {\displaystyle p_{dis}} . INPUT generator g {\displaystyle g} . Sample images x i {\displaystyle x_{i}} from generator. Compute p d i s ( ⋅ | x i ) {\displaystyle p_{dis}(\cdot |x_{i})} , the probability distribution over labels conditional on image x i {\displaystyle x_{i}} . Sum up the results to obtain p ^ {\displaystyle {\hat {p}}} , an empirical estimate of ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x {\displaystyle \int p_{dis}(\cdot |x)p_{gen}(x)dx} . Sample more images x i {\displaystyle x_{i}} from generator, and for each, compute D K L ( p d i s ( ⋅ | x i ) ‖ p ^ ) {\displaystyle D_{KL}\left(p_{dis}(\cdot |x_{i})\|{\hat {p}}\right)} . Average the results, and take its exponential. RETURN the result. === Interpretation === A higher inception score is interpreted as "better", as it means that p g e n {\displaystyle p_{gen}} is a "sharp and distinct" collection of pictures. ln I S ( p g e n , p d i s ) ∈ [ 0 , ln N ] {\displaystyle \ln IS(p_{gen},p_{dis})\in [0,\ln N]} , where N {\displaystyle N} is the total number of possible labels. ln I S ( p g e n , p d i s ) = 0 {\displaystyle \ln IS(p_{gen},p_{dis})=0} iff for almost all x ∼ p g e n {\displaystyle x\sim p_{gen}} p d i s ( ⋅ | x ) = ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x {\displaystyle p_{dis}(\cdot |x)=\int p_{dis}(\cdot |x)p_{gen}(x)dx} That means p g e n {\displaystyle p_{gen}} is completely "indistinct". That is, for any image x {\displaystyle x} sampled from p g e n {\displaystyle p_{gen}} , discriminator returns exactly the same label predictions p d i s ( ⋅ | x ) {\displaystyle p_{dis}(\cdot |x)} . The highest inception score N {\displaystyle N} is achieved if and only if the two conditions are both true: For almost all x ∼ p g e n {\displaystyle x\sim p_{gen}} , the distribution p d i s ( y | x ) {\displaystyle p_{dis}(y|x)} is concentrated on one label. That is, H y [ p d i s ( y | x ) ] = 0 {\displaystyle H_{y}[p_{dis}(y|x)]=0} . That is, every image sampled from p g e n {\displaystyle p_{gen}} is exactly classified by the discriminator. For every label y {\displaystyle y} , the proportion of generated images labelled as y {\displaystyle y} is exactly E x ∼ p g e n [ p d i s ( y | x ) ] = 1 N {\displaystyle \mathbb {E} _{x\sim p_{gen}}[p_{dis}(y|x)]={\frac {1}{N}}} . That is, the generated images are equally distributed over all labels.
Neuromorphic computing
Neuromorphic computing is a computing approach inspired by the human brain's structure and function. It uses artificial neurons to perform computations, mimicking neural systems for tasks such as perception, motor control, and multisensory integration. These systems, implemented in analog, digital, or mixed-mode VLSI, prioritize robustness, adaptability, and learning by emulating the brain’s distributed processing across small computing elements. This interdisciplinary field integrates biology, physics, mathematics, computer science, and electronic engineering to develop systems that emulate the brain’s morphology and computational strategies. Neuromorphic systems aim to enhance energy efficiency and computational power for applications including artificial intelligence, pattern recognition, and sensory processing. == History == Carver Mead proposed one of the first applications for neuromorphic engineering in the late 1980s. In 2006, researchers at Georgia Tech developed a field programmable neural array, a silicon-based chip modeling neuron channel-ion characteristics. In 2011, MIT researchers created a chip mimicking synaptic communication using 400 transistors and standard CMOS techniques. In 2012 HP Labs researchers reported that Mott memristors exhibit volatile behavior at low temperatures, enabling the creation of neuristors that mimic neuron behavior and support Turing machine components. Also in 2012, Purdue University researchers presented a neuromorphic chip design using lateral spin valves and memristors, noted for energy efficiency. The 2013 Blue Brain Project creates detailed digital models of rodent brains. Neurogrid, developed by Brains in Silicon at Stanford University, used 16 NeuroCore chips to emulate 65,536 neurons with high energy efficiency in 2014. The 2014 BRAIN Initiative and IBM’s TrueNorth chip contributed to neuromorphic advancements. The 2016 BrainScaleS project, a hybrid neuromorphic supercomputer at University of Heidelberg, operated 864 times faster than biological neurons. In 2017, Intel unveiled its Loihi chip, using an asynchronous artificial neural network for efficient learning and inference. Also in 2017 IMEC’s self-learning chip, based on OxRAM, demonstrated music composition by learning from minuets. In 2022, MIT researchers developed artificial synapses using protons for analog deep learning. In 2019, the European Union funded neuromorphic quantum computing to explore quantum operations using neuromorphic systems. Also in 2022, researchers at the Max Planck Institute for Polymer Research developed an organic artificial spiking neuron for in-situ neuromorphic sensing and biointerfacing. Researchers reported in 2024 that chemical systems in liquid solutions can detect sound at various wavelengths, offering potential for neuromorphic applications. == Neurological inspiration == Neuromorphic engineering emulates the brain’s structure and operations, focusing on the analog nature of biological computation and the role of neurons in cognition. The brain processes information via neurons using chemical signals, abstracted into mathematical functions. Neuromorphic systems distribute computation across small elements, similar to neurons, using methods guided by anatomical and functional neural maps from electron microscopy and neural connection studies. == Implementation == Neuromorphic systems employ hardware such as oxide-based memristors, spintronic memories, threshold switches, and transistors. Software implementations train spiking neural networks using error backpropagation. === Neuromemristive systems === Neuromemristive systems use memristors to implement neuroplasticity, focusing on abstract neural network models rather than detailed biological mimicry. These systems enable applications in speech recognition, face recognition, and object recognition, and can replace conventional digital logic gates. The Caravelli-Traversa-Di Ventra equation describes memristive memory evolution, revealing tunneling phenomena and Lyapunov functions. === Neuromorphic sensors === Neuromorphic principles extend to sensors, such as the retinomorphic sensor or event camera, which mimic human vision by registering brightness changes individually, optimizing power consumption. An example of this applied to detecting light is the retinomorphic sensor or, when employed in an array, an event camera. == Ethical considerations == Neuromorphic systems raise the same ethical questions as those for other approaches to artificial intelligence. Daniel Lim argued that advanced neuromorphic systems could lead to machine consciousness, raising concerns about whether civil rights and other protocols should be extended to them. Legal debates, such as in Acohs Pty Ltd v. Ucorp Pty Ltd, question ownership of work produced by neuromorphic systems, as non-human-generated outputs may not be copyrightable.
VoID
The Vocabulary of Interlinked Datasets (VoID) is a vocabulary for providing concise summaries (metadata) of Resource Description Framework (RDF) datasets—meaningful collections of semantic triples—using the syntax of RDF Schema. It can be used for general metadata (such as information about the license of the dataset), access metadata (information about how to access the dataset), structural metadata (information about how the dataset is structured), and linking metadata (information about links between datasets). A linked dataset is a collection of data, published and maintained by a single provider, available as RDF on the Web, where at least some of the resources in the dataset are identified by dereferencable Uniform Resource Identifiers (URIs). VoID is used to provide metadata on RDF datasets to facilitate query processing on a graph of interlinked datasets in the Semantic Web.
Representational harm
Systems cause representational harm when they misrepresent a group of people in a negative manner. Representational harms include perpetuating harmful stereotypes about or minimizing the existence of a social group, such as a racial, ethnic, gender, or religious group. Machine learning algorithms often commit representational harm when they learn patterns from data that have algorithmic bias, and this has been shown to be the case with large language models. While preventing representational harm in models is essential to prevent harmful biases, researchers often lack precise definitions of representational harm and conflate it with allocative harm, an unequal distribution of resources among social groups, which is more widely studied and easier to measure. However, recognition of representational harms is growing and preventing them has become an active research area. Researchers have recently developed methods to effectively quantify representational harm in algorithms, making progress on preventing this harm in the future. == Types == Three prominent types of representational harm include stereotyping, denigration, and misrecognition. These subcategories present many dangers to individuals and groups. Stereotypes are oversimplified and usually undesirable representations of a specific group of people, usually by race and gender. This often leads to the denial of educational, employment, housing, and other opportunities. For example, the model minority stereotype of Asian Americans as highly intelligent and good at mathematics can be damaging professionally and academically. Representational harm happens when the representation of details teams improves damaging stereotypes, developing social exclusion and prejudice. This experience is particularly noticeable in the depiction of marginalised groups, containing people of color, women, LGBTQ+ people, and people with handicaps. Media depictions of these groups generally stop working to catch their array and intricacy. Instead, they are typically reduced to one-dimensional caricatures, which ultimately continue social prejudices. These organised depictions contribute to the help of hazardous stereotypes and the marginalisation of these locations. Denigration is the action of unfairly criticizing individuals. This frequently happens when the demeaning of social groups occurs. For example, when searching for "Black-sounding" names versus "white-sounding" ones, some retrieval systems bolster the false perception of criminality by displaying ads for bail-bonding businesses. A system may shift the representation of a group to be of lower social status, often resulting in a disregard from society. Research shows that hazardous depictions in the media can have substantial emotional and social impacts on both individuals and areas. Lawrence Bobo examined the issue of Ethnic stereotype in film, tv, and marketing. African Americans are commonly received duties specified by features such as "violent tendencies," "laziness," or being "merely for contentment features." While these representations might appear varied externally, they stay to boost underlying frameworks of white prominence and racial inequality. As a circumstances, Black individuals are frequently represented as law offenders or in secondary roles, which adds to the support of Ethnic stereotype and Institutional racism. Misrecognition, or incorrect recognition, can display in many forms, including, but not limited to, erasing and alienating social groups, and denying people the right to self-identify. Erasing and alienating social groups involves the unequal visibility of certain social groups; specifically, systematic ineligibility in algorithmic systems perpetuates inequality by contributing to the underrepresentation of social groups. Not allowing people to self-identify is closely related as people's identities can be 'erased' or 'alienated' in these algorithms. Misrecognition causes more than surface-level harm to individuals: psychological harm, social isolation, and emotional insecurity can emerge from this subcategory of representational harm. == Quantification == As the dangers of representational harm have become better understood, some researchers have developed methods to measure representational harm in algorithms. Modeling stereotyping is one way to identify representational harm. Representational stereotyping can be quantified by comparing the predicted outcomes for one social group with the ground-truth outcomes for that group observed in real data. For example, if individuals from group A achieve an outcome with a probability of 60%, stereotyping would be observed if it predicted individuals to achieve that outcome with a probability greater than 60%. The group modeled stereotyping in the context of classification, regression, and clustering problems, and developed a set of rules to quantitatively determine if the model predictions exhibit stereotyping in each of these cases. Other attempts to measure representational harms have focused on applications of algorithms in specific domains such as image captioning, the act of an algorithm generating a short description of an image. In a study on image captioning, researchers measured five types of representational harm. To quantify stereotyping, they measured the number of incorrect words included in the model-generated image caption when compared to a gold-standard caption. They manually reviewed each of the incorrectly included words, determining whether the incorrect word reflected a stereotype associated with the image or whether it was an unrelated error, which allowed them to have a proxy measure of the amount of stereotyping occurring in this caption generation. These researchers also attempted to measure demeaning representational harm. To measure this, they analyzed the frequency with which humans in the image were mentioned in the generated caption. It was hypothesized that if the individuals were not mentioned in the caption, then this was a form of dehumanization. == Examples == One of the most notorious examples of representational harm was committed by Google in 2015 when an algorithm in Google Photos classified Black people as gorillas. Developers at Google said that the problem was caused because there were not enough faces of Black people in the training dataset for the algorithm to learn the difference between Black people and gorillas. Google issued an apology and fixed the issue by blocking its algorithms from classifying anything as a primate. In 2023, Google's photos algorithm was still blocked from identifying gorillas in photos. Another prevalent example of representational harm is the possibility of stereotypes being encoded in word embeddings, which are trained using a wide range of text. These word embeddings are the representation of a word as an array of numbers in vector space, which allows an individual to calculate the relationships and similarities between words. However, recent studies have shown that these word embeddings may commonly encode harmful stereotypes, such as the common example that the phrase "computer programmer" is oftentimes more closely related to "man" than it is to "women" in vector space. This could be interpreted as a misrepresentation of computer programming as a profession that is better performed by men, which would be an example of representational harm. == Addressing representational harm == Initiatives to minimise representational harm include advertising for even more inclusive and accurate portrayals of marginalised teams in the media. Scholars and protestors recommend that the method to reducing representational injury depends on raising the selection of voices both behind and before the digital video camera. When marginalized groups are provided the chance to represent themselves, they can check traditional stereotypes and present their experiences additional authentically. Over the last few years, efforts to increase representation of people of color, women, and LGBTQ+ people in conventional media have made some progression. Films such as Selma, routed by Ava DuVernay, and tv series like Pose, developed by Ryan Murphy, have actually been extensively applauded for their nuanced and respectful representations of marginalised communities. These tasks existing complex individualities and stories that move past streamlined stereotypes. Self-representation is one more crucial method to addressing representational harm. By equipping marginalised locations to create their really own tales, media designers can effectively reduce the perpetuation of hazardous stereotypes. This procedure consists of both the manufacturing of media product by participants of these communities and proactively difficult typical media structures that have actually historically omitted them.
Situated
In artificial intelligence and cognitive science, the term situated refers to an agent which is embedded in an environment. The term situated is commonly used to refer to robots, but some researchers argue that software agents can also be situated if: they exist in a dynamic (rapidly changing) environment, which they can manipulate or change through their actions, and which they can sense or perceive. Examples might include web-based agents, which can alter data or trigger processes (such as purchases) over the internet, or virtual-reality bots which inhabit and change virtual worlds, such as Second Life. Being situated is generally considered to be part of being embodied, but it is useful to consider each perspective individually. The situated perspective emphasizes that intelligent behaviour derives from the environment and the agent's interactions with it. The nature of these interactions are defined by an agent's embodiment.
Computational creativity
Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d