Emergent (formerly PDP++) is a biologically-based neural simulation software that is primarily intended for creating models of the brain and cognitive processes. Development initially began in 1995 at Carnegie Mellon University, and as of 2014, continues at the University of Colorado at Boulder. The 3.x release of the software, which was known as PDP++, is featured in the textbook Computational Explorations in Cognitive Neuroscience. == Features == Emergent features a modular design, based on the principles of object-oriented programming. It runs on Microsoft Windows, Darwin / macOS and Linux. C-Super-Script (variously, CSS and C^C), a built-in C++-like interpreted scripting language, allows access to virtually all simulator objects and can initiate all the same actions as the GUI, and more. Version 4 and upward features a full 3D environment for visualizations, based on Qt and Open Inventor. Robotics simulations are made possible by integration with the Open Dynamics Engine. A plugin system allows for expanding the software in many ways. Version 5 introduced parallel threading support, numerous speed improvements, a help browser featuring an interface to the project's Wiki and auto-generated documentation, undo and redo using diffs and a definable undo depth. In addition, 5.0.2 introduced a built-in plugin source code editor, and plugins can now be compiled from the main interface, enabling full development of plugins within Emergent. Emergent also provides an implementation of Leabra which was developed by Randall C. O'Reilly in his PhD thesis.
Artificial brain
An artificial brain (or artificial mind) is software and hardware with cognitive abilities similar to those of the animal or human brain. Research investigating "artificial brains" and brain emulation plays three important roles in science: An ongoing attempt by neuroscientists to understand how the human brain works, known as cognitive neuroscience. A thought experiment in the philosophy of artificial intelligence, demonstrating that it is possible, at least in theory, to create a machine that has all the capabilities of a human being. A long-term project to create machines exhibiting behavior comparable to those of animals with complex central nervous system such as mammals and most particularly humans. The ultimate goal of creating a machine exhibiting human-like behavior or intelligence is sometimes called strong AI. An example of the first objective is the project reported by Aston University in Birmingham, England where researchers are using biological cells to create "neurospheres" (small clusters of neurons) in order to develop new treatments for diseases including Alzheimer's, motor neurone and Parkinson's disease. The second objective is a reply to arguments such as John Searle's Chinese room argument, Hubert Dreyfus's critique of AI or Roger Penrose's argument in The Emperor's New Mind. These critics argued that there are aspects of human consciousness or expertise that can not be simulated by machines. One reply to their arguments is that the biological processes inside the brain can be simulated to any degree of accuracy. This reply was made as early as 1950, by Alan Turing in his classic paper "Computing Machinery and Intelligence". The third objective is generally called artificial general intelligence by researchers. However, Ray Kurzweil prefers the term "strong AI". In his book The Singularity is Near, he focuses on whole brain emulation using conventional computing machines as an approach to implementing artificial brains, and claims (on grounds of computer power continuing an exponential growth trend) that this could be done by 2025. Henry Markram, director of the Blue Brain project (which is attempting brain emulation), made a similar claim (2020) at the Oxford TED conference in 2009. == Approaches to brain simulation == W. Ross Ashby's pioneering work in cybernetics provided an early mathematical framework for understanding adaptive brain-like systems. In his 1952 book Design for a Brain, Ashby proposed that the brain could be modeled as an ultrastable system that maintains equilibrium through continuous adaptation to environmental perturbations. His approach used differential equations and state-space models to describe how neural systems could exhibit purposeful behavior through feedback mechanisms. Ashby's homeostat, a physical machine built in 1948, demonstrated these principles through an electromechanical device with four interconnected units that automatically adjusted their parameters to maintain stability when disturbed. The homeostat represented one of the first attempts to build an artificial system exhibiting brain-like adaptive behavior, influencing subsequent work in adaptive systems, neural networks, and artificial intelligence. Although direct human brain emulation using artificial neural networks on a high-performance computing engine is a commonly discussed approach, there are other approaches. An alternative artificial brain implementation could be based on Holographic Neural Technology (HNeT) non linear phase coherence/decoherence principles. The analogy has been made to quantum processes through the core synaptic algorithm which has strong similarities to the quantum mechanical wave equation. EvBrain is a form of evolutionary software that can evolve "brainlike" neural networks, such as the network immediately behind the retina. In November 2008, IBM received a US$4.9 million grant from the Pentagon for research into creating intelligent computers. The Blue Brain project is being conducted with the assistance of IBM in Lausanne. The project is based on the premise that it is possible to artificially link the neurons "in the computer" by placing thirty million synapses in their proper three-dimensional position. Some proponents of strong AI speculated in 2009 that computers in connection with Blue Brain and Soul Catcher may exceed human intellectual capacity by around 2015, and that it is likely that we will be able to download the human brain at some time around 2050. While Blue Brain is able to represent complex neural connections on the large scale, the project does not achieve the link between brain activity and behaviors executed by the brain. In 2012, project Spaun (Semantic Pointer Architecture Unified Network) attempted to model multiple parts of the human brain through large-scale representations of neural connections that generate complex behaviors in addition to mapping. Spaun's design recreates elements of human brain anatomy. The model, consisting of approximately 2.5 million neurons, includes features of the visual and motor cortices, GABAergic and dopaminergic connections, the ventral tegmental area (VTA), substantia nigra, and others. The design allows for several functions in response to eight tasks, using visual inputs of typed or handwritten characters and outputs carried out by a mechanical arm. Spaun's functions include copying a drawing, recognizing images, and counting. There are good reasons to believe that, regardless of implementation strategy, the predictions of realising artificial brains in the near future are optimistic. In particular brains (including the human brain) and cognition are not currently well understood, and the scale of computation required is unknown. Another near term limitation is that all current approaches for brain simulation require orders of magnitude larger power consumption compared with a human brain. The human brain consumes about 20 W of power, whereas current supercomputers may use as much as 1 MW—i.e., an order of 100,000 more. == Artificial brain thought experiment == Some critics of brain simulation believe that it is simpler to create general intelligent action directly without imitating nature. Some commentators have used the analogy that early attempts to construct flying machines modeled them after birds, but that modern aircraft do not look like birds.
Joox
Joox (stylised in all caps) is a music streaming service owned by Tencent, launched in January 2015. Joox is the biggest music streaming app in Asian markets such as Hong Kong, Macau, Indonesia, Malaysia, Myanmar, Thailand and also in South Africa before it was shut down in early 2022. Joox is a freemium service, providing most of its songs free, while some songs are only available for premium users, offered via paid subscriptions or by doing different tasks offered. In 2017, Joox launched their service in their first non-Asian market, South Africa, which for an unknown reason shut down five years later. The service now accounts for more than 50% of all music streaming app downloads in their Asian markets. The number of music-streaming users in Hong Kong, Macau, Malaysia, Thailand, Myanmar and Indonesia was expected to reach 87 million by 2020. == Background == Before the emergence of Joox, Tencent owned QQ Music, one of the largest music streaming and download service in China. In 2015, they introduced Joox as their expansion of music services to overseas market instead of mainland China, starting first in Hong Kong. Instead of providing free services by playing audio ads to users like Spotify, another major music service, Joox focused on banner ads, splash ads and other advertising methods such as category playlists and in-app skins. They claimed it as a success. Joox offered their premium VIP access to DStv subscribers free of charge. DStv is the sister company to Tencent and is the primary pay-TV provider in South Africa. In November 2021, it was announced that Joox will stop streaming in South Africa in March 2022.
Gas (app)
Gas (sometimes stylized in all caps), formerly known as Melt as well as Crush, was an American anonymous social media app. Launched in August 2022, the app is oriented towards high schoolers. The app was developed by Nikita Bier, Isaiah Turner, and former Facebook engineer Dave Schatz. Gas was largely based upon the prior tbh app developed by co-founder Nikita Bier, along with Erik Hazzard, Kyle Zaragoza, and Nicolas Ducdodon in September 2017. tbh was acquired by Facebook inc. (now Meta Platforms) on October 16, 2017, and nearly a year later in July 2018 was dissolved, owing to low usage. Gas follows a similar purpose to tbh in being a social media app oriented towards high schoolers. In the app, users participate in anonymous polls regarding pre-written complimentary statements to their peers, such as "I'd say yes if (blank) asked me out on a date," "I think (blank) is the coolest kid in school," or "would make an ugly face and still look pretty." Winners of said polls receive a "flame." The name of the app is derived from this, with "gassing someone up" being Gen Z slang for complimenting someone. Users can pay a $6.99 subscription that enables "God Mode," which shows hints regarding who voted for them in a poll. Gas overtook TikTok and BeReal as the most downloaded app on the Apple App Store in October 2022 (the app is currently not available for Android). The app has over 5.1 million downloads as of early November 2022, over a million active users and 300 thousand daily downloads as of October 2022. Currently, the app is available in Canada and the majority of the United States. On January 17, 2023, Gas was acquired by Discord, however it would remain a standalone app and its developers became Discord staff members. On October 18, 2023, Discord announced that service for Gas would be permanently ending effective November 7, 2023, due to a steep decline in users. Effective November 7, the app became completely unusable. == Controversy regarding human-trafficking == Beginning in October 2022, rumors spread largely throughout TikTok and Snapchat alleged that the app was linked to human trafficking (in particular sex trafficking). According to Bier, the rumor originated with a single user review from China on October 5, and then was disseminated through TikTok accounts with "few to no US teen followers." Although largely dismissed as a hoax by experts, who cite how the app doesn't log user locations and general anonymity, the hoax became pervasive to the extent that various police departments, school systems, and local news outlets began issuing warnings regarding the app. For instance, on October 31, 2022, the police department of Piedmont, Oklahoma issued a warning to parents, encouraging them to check their children's phones, while on November 3, the Oklahoma Oktaha Public School system stated in a Facebook post that "Children are being kidnapped in other towns and this new app is thought to be the source of predators finding their location." (both statements have since been retracted by Police Chief Scott Singer and Superintendent Jerry Needham respectively). Additionally, local medial outlets such as KOCO in Oklahoma City ran stories making similar statements. The rumor had a negative impact on the app, with downloads plateauing for a two-week period in late October and with 3% of users in a single day reportedly uninstalling the app. Revenue and ratings have also reportedly dropped and the company's social media accounts have been bombarded with comments labeling them as sex-traffickers. Additionally, the four-person development team has reportedly been bombarded with various death threats as a result.
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
International Conference on Language Resources and Evaluation
The International Conference on Language Resources and Evaluation is an international conference organised by the ELRA Language Resources Association every other year (on even years) with the support of institutions and organisations involved in Natural language processing. The series of LREC conferences was launched in Granada in 1998. == History of conferences == The survey of the LREC conferences over the period 1998-2013 was presented during the 2014 conference in Reykjavik as a closing session. It appears that the number of papers and signatures is increasing over time. The average number of authors per paper is higher as well. The percentage of new authors is between 68% and 78%. The distribution between male (65%) and female (35%) authors is stable over time. The most frequent technical term is "annotation", then comes "part-of-speech". == The LRE Map == The LRE Map was introduced at LREC 2010 and is now a regular feature of the LREC submission process for both the conference papers and the workshop papers. At the submission stage, the authors are asked to provide some basic information about all the resources (in a broad sense, i.e. including tools, standards and evaluation packages), either used or created, described in their papers. All these descriptors are then gathered in a global matrix called the LRE Map. This feature has been extended to several other conferences.
Color gradient
In color science, a color gradient (also known as a color ramp or a color progression) specifies a range of position-dependent colors, usually used to fill a region. In assigning colors to a set of values, a gradient is a continuous colormap, a type of color scheme. In computer graphics, the term swatch has come to mean a palette of active colors. == Definitions == Color gradient is a set of colors arranged in a linear order (ordered) A continuous colormap is a curve through a colorspace === Strict definition === A colormap is a function which associate a real value r with point c in color space C {\displaystyle C} f : [ r m i n , r m a x ] ⊂ R → C {\displaystyle f:[r_{min},r_{max}]\subset \mathbf {R} \to C} which is defined by: a colorspace C an increasing sequence of sampling points r 0 < . . . < r m ∈ [ r m i n , r m a x ] {\displaystyle r_{0}<...