The archival bond is a concept in archival theory referring to the relationship that each archival record has with the other records produced as part of the same transaction or activity and located within the same grouping. These bonds are a core component of each individual record and are necessary for transforming a document into a record, as a document will only acquire meaning (and become a record) through its interrelationships with other records. == Description == The concept of the archival bond is primarily associated with the work of Luciana Duranti along with Heather MacNeil, as part of research into the integrity of electronic records. Duranti resumed and extended the concept of vincolo archivistico (archival bond), first expressed in 1937 by archivist Giorgio Cencetti of the Italian archival school. This bond emerges from the fact that electronic records are not physically arranged like traditional records. For traditional, analog records, their bond is implicit in their arrangement. But for electronic records, this bond must be made explicit due to the lack of a single sequential order of records in a digital environment. The archival bond was one of the core concepts of the subsequent International Research on Permanent Authentic Records in Electronic Systems (InterPARES) project and can be found in the InterPARES glossary. As Duranti notes, the archival bond is not to be confused with the broader term "context" as context exists independently of a record, while "the archival bond is an essential part of the record, which would not exist without it."
Labeled data
Labeled data is a group of samples that have been tagged with one or more labels. Labeling typically takes a set of unlabeled data and augments each piece of it with informative tags called judgments. For example, a data label might indicate whether a photo contains a horse or a cow, which words were uttered in an audio recording, what type of action is being performed in a video, what the topic of a news article is, what the overall sentiment of a tweet is, or whether a dot in an X-ray is a tumor. Labels can be obtained by having humans make judgments about a given piece of unlabeled data. Labeled data is significantly more expensive to obtain than the raw unlabeled data. The quality of labeled data directly influences the performance of supervised machine learning models in operation, as these models learn from the provided labels. == Crowdsourced labeled data == In 2006, Fei-Fei Li, the co-director of the Stanford Human-Centered AI Institute, initiated research to improve the artificial intelligence models and algorithms for image recognition by significantly enlarging the training data. The researchers downloaded millions of images from the World Wide Web and a team of undergraduates started to apply labels for objects to each image. In 2007, Li outsourced the data labeling work on Amazon Mechanical Turk, an online marketplace for digital piece work. The 3.2 million images that were labeled by more than 49,000 workers formed the basis for ImageNet, one of the largest hand-labeled database for outline of object recognition. == Automated data labelling == After obtaining a labeled dataset, machine learning models can be applied to the data so that new unlabeled data can be presented to the model and a likely label can be guessed or predicted for that piece of unlabeled data. == Challenges == === Data-driven bias === Algorithmic decision-making is subject to programmer-driven bias as well as data-driven bias. Training data that relies on bias labeled data will result in prejudices and omissions in a predictive model, despite the machine learning algorithm being legitimate. The labeled data used to train a specific machine learning algorithm needs to be a statistically representative sample to not bias the results. For example, in facial recognition systems underrepresented groups are subsequently often misclassified if the labeled data available to train has not been representative of the population,. In 2018, a study by Joy Buolamwini and Timnit Gebru demonstrated that two facial analysis datasets that have been used to train facial recognition algorithms, IJB-A and Adience, are composed of 79.6% and 86.2% lighter skinned humans respectively. === Human error and inconsistency === Human annotators are prone to errors and biases when labeling data. This can lead to inconsistent labels and affect the quality of the data set. The inconsistency can affect the machine learning model's ability to generalize well. === Domain expertise === Certain fields, such as legal document analysis or medical imaging, require annotators with specialized domain knowledge. Without the expertise, the annotations or labeled data may be inaccurate, negatively impacting the machine learning model's performance in a real-world scenario.
GPT-5.3-Codex
GPT-5.3-Codex (Generative Pre-trained Transformer 5.3 Codex) is a large language model (LLM) announced and released by OpenAI on February 5, 2026. It is made as a competitor to Claude's Opus 4.6, focusing on code generation, speed and the ability to search repositories, run terminal commands and at the same time, debug code. In technical benchmarks, it is reported that GPT-5.3 Codex is 25% faster than Opus 4.6. GPT-5.3 Codex is available in the Codex app and on the web; access via API is also planned. According to OpenAI, GPT-5.3-Codex is the company's "first model that was instrumental in creating itself." On February 12, 2026, GPT-5.3-Codex-Spark was released in a research preview, which is a smaller version of GPT-5.3-Codex which supports text-only input. As of February 2026, GPT-5.3-Codex is only available for ChatGPT Pro ($200/month) subscribers.
PyTorch
PyTorch is an open-source deep learning library, originally developed by Meta Platforms and currently developed with support from the Linux Foundation. The successor to Torch, PyTorch provides a high-level API that builds upon optimised, low-level implementations of deep learning algorithms and architectures, such as the Transformer, or SGD. Notably, this API simplifies model training and inference to a few lines of code. PyTorch allows for automatic parallelization of training and, internally, implements CUDA bindings that speed training further by leveraging GPU resources. PyTorch utilises the tensor as a fundamental data type, similarly to NumPy. Training is facilitated by a reversed automatic differentiation system, Autograd, that constructs a directed acyclic graph of the operations (and their arguments) executed by a model during its forward pass. With a loss, backpropagation is then undertaken. As of 2025, PyTorch remains one of the most popular deep learning libraries, alongside others such as TensorFlow and Keras. It can be installed using Anaconda package managers. A number of commercial deep learning architectures are built on top of PyTorch, including ChatGPT, Tesla Autopilot, Uber's Pyro, and Hugging Face's Transformers. == History == In 2001, Torch was written and released under a GPL. It was a machine-learning library written in C++ and CUDA, supporting methods including neural networks, support vector machines (SVM), hidden Markov models, etc. Around 2010, it was rewritten by Ronan Collobert, Clement Farabet and Koray Kavuckuoglu. This was known as Torch7 or LuaTorch. This was written so that the backend was in C and the frontend was in Lua. In mid-2016, some developers refactored it to decouple the frontend and the backend, with strong influence from torch-autograd and Chainer. In turn, torch-autograd was influenced by HIPS/autograd. Development on Torch7 ceased in 2018 and was subsumed by the PyTorch project. Meta (formerly known as Facebook) operates both PyTorch and Convolutional Architecture for Fast Feature Embedding (Caffe2), but models defined by the two frameworks were mutually incompatible. The Open Neural Network Exchange (ONNX) project was created by Meta and Microsoft in September 2017 to decouple deep learning frameworks from hardware-specific runtimes, allowing models to be converted between frameworks and optimized for execution providers like NVIDIA’s TensorRT. Caffe2 was merged into PyTorch at the end of March 2018. In September 2022, Meta announced that PyTorch would be governed by the independent PyTorch Foundation, a newly created subsidiary of the Linux Foundation. PyTorch 2.0 was released on 15 March 2023, introducing TorchDynamo, a Python-level compiler that makes code run up to two times faster, along with significant improvements in training and inference performance across major cloud platforms. == PyTorch tensors == PyTorch defines a class called Tensor (torch.Tensor) to store and operate on homogeneous multidimensional rectangular arrays of numbers. PyTorch supports various sub-types of multi-dimensional arrays, or Tensors. PyTorch Tensors are similar to NumPy Arrays, but can also be operated on by a CUDA-capable NVIDIA GPU. PyTorch has also been developing support for other GPU platforms, for example, AMD's ROCm and Apple's Metal Framework. == PyTorch neural networks == PyTorch defines a module called nn (torch.nn) to describe neural networks and to support training. This module offers a comprehensive collection of building blocks for neural networks, including various layers and activation functions, enabling the construction of complex models. Networks are built by inheriting from the torch.nn module and defining the sequence of operations in the forward() function. == PyTorch Serialized File Format == Pytorch can save and load models using its own file format, which is a ZIP64 archive containing the model weights in a Python pickle file, and other information such as the byte order. The file extensions .pt and .pth are commonly used for these files. == Example == The following program shows the low-level functionality of the library with a simple example. The following code block defines a neural network with linear layers using the nn module.
Interactive activation and competition networks
Interactive activation and competition (IAC) networks are artificial neural networks used to model memory and intuitive generalizations. They are made up of nodes or artificial neurons which are arrayed and activated in ways that emulate the behaviors of human memory. The IAC model is used by the parallel distributed processing (PDP) Group and is associated with James L. McClelland and David E. Rumelhart; it is described in detail in their book Explorations in Parallel Distributed Processing: A Handbook of Models, Programs, and Exercises. This model does not contradict any currently known biological data or theories, and its performance is close enough to human performance as to warrant further investigation.
Film-out
Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording. The film-out process is different depending on the regional standard of the master videotape in question – NTSC, PAL, or SECAM – or likewise on the several emerging region-independent formats of high definition video (HD video); thus each type is covered separately, taking into account regional film-out industries, methods and technical considerations. == Live action video == Many modern documentaries and low-budget films are shot on videotape or other digital video media, instead of film stock, and completed as digital video. Video production means substantially lower costs than 16 mm or 35 mm film production on all levels. Until recently, the relatively low cost of video ended when the issue of a theatrical presentation was raised, which required a print for film projection. With the growing presence of digital projection, this is becoming less of a factor. === Standard definition (SD) video === Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film frames onto actual film. To understand these two steps, it is important to understand how video and film differ. Film (sound film, at least) has remained unchanged for almost a century and creates the illusion of moving images through the rapid projection of still images, frames, upon a screen, typically 24 per second. Traditional interlaced SD video has no real frame rate, (though the term frame is applied to video, it has a different meaning). Instead, video consists of a very fast succession of horizontal lines that continually cascade down the television screen – streaming top to bottom, before jumping back to the top and then streaming down to the bottom again, repeatedly, almost 60 alternating screen-fulls every second for NTSC, or exactly 50 such screen-fulls per second for PAL and SECAM. Since visual movement in video is infused in this continuous cascade of scan lines, there is no discrete image or real frame that can be identified at any one time. Therefore, when transferring video to film, it is necessary to invent individual film frames, 24 for every second of elapsed time. The bulk of the work done by a film-out company is this first step, creating film frames out of the stream of interlaced video. Each company employs its own (often proprietary) technology for turning interlaced video into high-resolution digital video files of 24 discrete images every second, called 24 progressive video or 24p. The technology must filter out all the visually unappealing artifacting that results from the inherent mismatch between video and film movement. Moreover, the conversion process usually requires human intervention at every edit point of a video program, so that each type of scene can be calibrated for maximum visual quality. The use of archival footage in video especially calls for extra attention. Step two, the scanning to film, is the rote part of the process. This is the mechanical step where lasers print each of the newly created frames of the 24p video, stored on computer files or HD videotape, onto rolls of film. Most companies that do film-out, do all the stages of the process themselves for a lump sum. The job includes converting interlaced video into 24p and often a color correction session – (calibrating the image for theatrical projection), before scanning to physical film, (possibly followed by color correction of the film print made from the digital intermediary) – is offered. At the very least, film-out can be understood as the process of converting interlaced video to 24p and then scanning it to film. ==== NTSC video ==== NTSC is the most challenging of the formats when it comes to standards conversion and, specifically, converting to film prints. NTSC runs at the approximate rate of 29.97 video frames (consisting of two interlaced screen-fulls of scan lines, called fields, per frame) per second. In this way, NTSC resolves actual live action movement at almost – but not quite – 60 alternating half-resolution images every second. Because of this 29.97 rate, no direct correlation to film frames at 24 frames per second can be achieved. NTSC is hardest to reconcile with film, thus motivating its own unique processes. ==== PAL and SECAM video ==== PAL and SECAM run at 25 interlaced video frames per second, which can be slowed down or frame-dropped, then deinterlaced, to correlate frame for frame with film running at 24 actual frames per second. PAL and SECAM are less complex and demanding than NTSC for film-out. PAL and SECAM conversions do agitate, though, with the unpleasant choice between slowing down video (and audio pitch, noticeably) by four percent, from 25 to 24 frames per second, in order to maintain a 1:1 frame match, slightly changing the rhythm and feel of the program; or maintaining original speed by periodically dropping frames, thereby creating jerkiness and possible loss of vital detail in fast-moving action or precise edits. === High definition (HD) digital video === High definition digital video can be shot at a variety of frame rates, including 29.97 interlaced (like NTSC) or progressive; or 25 interlaced (like PAL) or progressive; or even 24-progressive (just like film). HD, if shot in 24-progressive, scans nearly perfectly to film without the need for a frame or field conversion process. Other issues remain though, based on the different resolutions, color spaces, and compression schemes that exist in the high-definition video world. == Computer graphics and animation == Artists working with CGI-Computer-generated imagery animation computers create pictures frame by frame. Once the finished product is done, the frames are outputted, normally in a DPX file. These picture data files can then be put on to film using a film recorder for film out. SGI computers started the high-end CGI-Computer-generated imagery animation systems, but with faster computers and the growth of Linux-based systems, many others are on the market now. Movies fully rendered and animated in CGI such as Toy Story, and Antz utilize the film-out method to produce 35mm copies for archival and release prints. Most CGI work is done in 2K Display resolution files (about the size of QXGA) and then output to the Film-out device for creation of 35 mm elements. With 4K Display resolution digital intermediates on the rise, newer types of film-out recorders are being developed to accept 4k resolution files. A 2K movie requires a Storage Area Network storage several terabytes in size to be properly stored and played out. Computer graphics files are handled the same way but in single frames and may use DPX, TIFF or other file formats. == Digital intermediates == Film-out-recording is the last step of digital intermediate workflow. DPX files that were scanned on a motion picture film scanner are stored on a storage area network (often abbreviated as SAN). The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". The process was also used on the films Dune (2021) and The Batman (2022). == Images for graphic design and print industries == The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. == Types of devices == The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. == History == Lately it has become possible to transfer video images, inclu
HiLog
HiLog is a programming logic with higher-order syntax, which allows arbitrary terms to appear in predicate and function positions. However, the model theory of HiLog is first-order. Although syntactically HiLog strictly extends first order logic, HiLog can be embedded into this logic. HiLog was first described in 1989. It was later extended in the direction of many-sorted logic. The XSB system parses HiLog syntax, but the integration of HiLog into XSB is only partial. In particular, HiLog is not integrated with the XSB module system. A full implementation of HiLog is available in the Flora-2 system. It has been shown that HiLog can be embedded into first-order logic through a fairly simple transformation. For instance, p(X)(Y,Z(V)(W)) gets embedded as the following first-order term: apply(p(X),Y,apply(apply(Z,V),W)). The Framework for Logic-Based Dialects (RIF-FLD) of the Rule Interchange Format (RIF) is largely based on the ideas underlying HiLog and F-logic. == Examples == In all the examples below, capitalized symbols denote variables and the comma denotes logical conjunction, as in most logic programming languages. The first and the second examples show that variables can appear in predicate positions. Predicates can even be complex terms, such as closure(P) or maplist(F) below. The third example shows that variables can also appear in place of atomic formulas, while the fourth example illustrates the use of variables in place of function symbols. The first example defines a generic transitive closure operator, which can be applied to an arbitrary binary predicate. The second example is similar. It defines a LISP-like mapping operator, which applies to an arbitrary binary predicate. The third example shows that the Prolog meta-predicate call/1 can be expressed in HiLog in a natural way and without the use of extra-logical features. The last example defines a predicate that traverses arbitrary binary trees represented as first-order terms.