Elon Reeve Musk ( EE-lon; born June 28, 1971) is a businessman and former public official known for his leadership of Tesla and SpaceX. Musk has been the wealthiest person in the world since 2025; as of June 2026, Forbes estimates his net worth to be US$834 billion. Born into the wealthy Musk family in Pretoria, South Africa, Musk emigrated in 1989 to Canada; he has Canadian citizenship since his mother was born there. He received bachelor's degrees in 1997 from the University of Pennsylvania before moving to California to pursue business ventures. In 1995, Musk co-founded the software company Zip2. Following its sale in 1999, he co-founded X.com, an online payment company that later merged to form PayPal, which was acquired by eBay in 2002. Musk also became an American citizen in 2002. In 2002, Musk founded the space technology company SpaceX, becoming its CEO and chief engineer; the company has since led innovations in reusable rockets and commercial spaceflight. Musk joined the automaker Tesla as an early investor in 2004 and became its CEO and product architect in 2008; it has since become a leader in electric vehicles. In 2015, he co-founded OpenAI to advance artificial intelligence (AI) research, but later left; growing discontent with the organization's direction and leadership in the AI boom in the 2020s led him to establish xAI, which became a subsidiary of SpaceX in 2026. In 2022, he acquired the social network Twitter, implementing significant changes, and rebranding it as X in 2023. His other businesses include the neurotechnology company Neuralink, which he co-founded in 2016, and the tunneling company the Boring Company, which he founded in 2017. In November 2025, Tesla approved a pay package worth $1 trillion for Musk, which he is to receive over 10 years if he meets specific goals. Musk is a supporter of global far-right politics, figures, and political parties. He was the largest donor in the 2024 U.S. presidential election, where he supported Donald Trump. After Trump was inaugurated as president in January 2025, Musk served as Senior Advisor to the President and as the de facto head of the Department of Government Efficiency (DOGE). Shortly before a public feud with Trump, Musk left the Trump administration in May 2025 and returned to managing his companies. Musk's political activities, statements and views have made him a polarizing figure. He has been criticized for making unscientific and misleading statements, including spreading COVID-19 misinformation, promoting conspiracy theories, and affirming antisemitic, racist, and transphobic comments. His acquisition of Twitter was controversial due to a subsequent increase in hate speech and the spread of misinformation on the service, following his pledge to decrease censorship. His role in the second Trump administration attracted public backlash, particularly in response to DOGE. == Early life and education == Elon Reeve Musk was born on June 28, 1971, in Pretoria, South Africa's administrative capital. He is of British and Pennsylvania Dutch ancestry. His mother, Maye (née Haldeman), is a model and dietitian born in Saskatchewan, Canada, and raised in South Africa. Musk therefore holds both South African and Canadian citizenship from birth. His father, Errol Musk, is a South African electromechanical engineer, pilot, sailor, consultant, emerald dealer, and property developer, who partly owned a rental lodge at Timbavati Private Nature Reserve. His maternal grandfather, Joshua N. Haldeman, who died in a plane crash when Elon was a toddler, was an American-born Canadian chiropractor, aviator and political activist in the Technocracy movement who moved to South Africa in 1950. Haldeman's anti-government, anti-democratic and conspiracist views, which included the promotion of far-right antisemitic conspiracy theories, "fanatical" support of apartheid, and according to Errol Musk, support of Nazism, have been suggested as an influence on Elon. During his childhood, Elon was told stories by his grandmother of Haldeman's travels and exploits, and Elon has suggested that all of Haldeman's descendants have his "desire for adventure, exploration – doing crazy things". Elon has a younger brother, Kimbal, a younger sister, Tosca, and four paternal half-siblings. Musk was baptized as a child in the Anglican Church of Southern Africa. The Musk family was wealthy during Elon's youth. Despite both Elon and Errol previously stating that Errol was a part owner of a Zambian emerald mine, in 2023, Errol recounted that the deal he made was to receive "a portion of the emeralds produced at three small mines". Errol was elected to the Pretoria City Council as a representative of the anti-apartheid Progressive Party and has said that his children shared their father's dislike of apartheid. After his parents divorced in 1979, Elon, aged around 9, chose to live with his father because he had an Encyclopædia Britannica set and a computer. Elon later regretted his decision and became estranged from his father. Elon has recounted trips to a wilderness school that he described as a "paramilitary Lord of the Flies" where "bullying was a virtue" and children were encouraged to fight over rations. In one incident, after an altercation with a fellow pupil, Elon was thrown down concrete steps and beaten severely, leading to him being hospitalized for his injuries. Elon described his father berating him after he was discharged from the hospital. Errol denied berating Elon and claimed, "The [other] boy had just lost his father to suicide, and Elon had called him stupid. Elon had a tendency to call people stupid. How could I possibly blame that child?" Elon was an enthusiastic reader of books, and had attributed his success in part to having read The Lord of the Rings, the Foundation series, and The Hitchhiker's Guide to the Galaxy. At age ten, he developed an interest in computing and video games, teaching himself how to program from the VIC-20 user manual. At age twelve, Elon sold his BASIC-based game Blastar to PC and Office Technology magazine for approximately $500 (equivalent to $1,600 in 2025). === Education === Musk attended Waterkloof House Preparatory School, Bryanston High School, and then Pretoria Boys High School, where he graduated. Musk was a decent but unexceptional student, earning a 61/100 in Afrikaans and a B on his senior math certification. Musk applied for a Canadian passport through his Canadian-born mother to avoid South Africa's mandatory military service, which would have forced him to participate in the apartheid regime, as well as to ease his path to immigration to the United States. While waiting for his application to be processed, he attended the University of Pretoria for five months. Musk arrived in Canada in June 1989, connected with a second cousin in Saskatchewan, and worked odd jobs, including at a farm and a lumber mill. In 1990, he entered Queen's University in Kingston, Ontario. Two years later, he transferred to the University of Pennsylvania, where he studied until 1995. Although Musk has said that he earned his degrees in 1995, the University of Pennsylvania did not award them until 1997 – a Bachelor of Arts in physics and a Bachelor of Science in economics from the university's Wharton School. He reportedly hosted large, ticketed house parties to help pay for tuition, and wrote a business plan for an electronic book-scanning service similar to Google Books. In 1994, Musk held two internships in Silicon Valley: one at energy storage startup Pinnacle Research Institute, which investigated electrolytic supercapacitors for energy storage, and another at Palo Alto–based startup Rocket Science Games. In 1995, he was accepted to a graduate program in materials science at Stanford University, but did not enroll. Musk decided to join the Internet boom of the 1990s, applying for a job at Netscape, to which he reportedly never received a response. The Washington Post reported that Musk lacked legal authorization to remain and work in the United States after failing to enroll at Stanford. In response, Musk said he was allowed to work at that time and that his student visa transitioned to an H1-B. According to numerous former business associates and shareholders, Musk said he was on a student visa at the time. == Business career == === Zip2 === In 1995, Musk, his brother Kimbal, and Greg Kouri founded the web software company Zip2 with funding from a group of angel investors. They housed the venture at a small rented office in Palo Alto. Replying to Rolling Stone, Musk denounced the notion that they started their company with funds borrowed from Elon's father Errol Musk, but in a tweet, he recognized that his father contributed 10% of a later funding round. The company developed and marketed an Internet city guide for the newspaper publishing industry, with maps, directions, and yellow pages. According to Musk, "The website was up during the day and I was coding it
Elements (toolchain)
RemObjects Elements is a toolchain for software development, comprising six programming languages: C#, Swift, Go, Java, Oxygene (a form of modern Object Pascal), and Visual Basic .NET. All languages interoperate, meaning a single project can use any combination of languages, and they can all be compiled to .NET, the JVM, native, or WebAssembly. Elements supports Microsoft Windows, all Apple Inc. platforms (including iOS, visionOS and watchOS), Android, and Linux. Elements also supports language conversion, allowing source code in one language to be rewritten in another. Elements is supported in Visual Studio, but RemObjects also makes their own IDEs, Fire (on MacOS) and Water (on Windows.) == Background == RemObjects began in 2002, creating software for Delphi, but in 2005 in response to the growth of .NET and that Delphi was targeting only native Windows, they released Oxygene (known as Chrome at the time) as a new version of Object Pascal, with more modern syntax as well as being .NET-native. Since then, five other languages have been added to the suite, as well as compiling for the web via WebAssembly and to native architectures (eg Intel 32/64 or ARM64). Elements is primarily intended for developers who want to pull together libraries and codebases written in multiple languages, including legacy codebases in older languages while modernizing either with newer syntax and features or by adding in the use of newer or more popular languages. Because of the Oxygene flavour of Object Pascal, supporting Delphi apps is a primary focus, including allowing Pascal to be compiled for other architectures or providing language features that match other prominent languages. == Approach == New versions of the Elements come out approximately every week. RemObjects names its programming languages after chemical elements, sometimes with poetic or musical spelling, rather than referring to them directly. They are: C#: Hydrogene Object Pascal: Oxygene Java: Iodine Visual Basic: Mercury Go: Gold Swift: Silver == History == The Elements compiler was first introduced with version 1.0 in 2005 under the name "Chrome", with support for only the Oxygene language on the .NET platform, primarily as a response to the then-new and not well-received Delphi .NET compiler from Embarcadero. Chrome saw updates to version 1.5 'Floorshow' and Chrome 2.0 'Joyride' over the next few years, moving in parallel with major advancements on the .NET platform for .NET 2.0 (Generics) and .NET 3.x (LINQ), respectively. With the release of version 3.0 (code-named Oxygène after the Jean-Michel Jarre album of the same name) Chrome was rebranded to Oxygene in 2008, and also shipped co-branded by Embarcadero as Delphi Prism (later just Prism) as part of RAD Studio, replacing Embarcadero's own and now-defunct Delphi.NET compiler. 2010 saw the release of Oxygene 4 ("Echoes"), the last version to focus on just a single language and platform. With Oxygene 5 in 2011 and Oxygene 6 in 2013, RemObjects introduced new platform support for Java/Android (code-name "Cooper") and then Cocoa, the Apple development platform (code-name "Toffee"). Elements 7.0 was released at the beginning of 2014, adding the second programming language, C# to the compiler, and delegating Oxygene from the product name to merely branding the Object Pascal-based language. Over the subsequent years, Elements gained support for additional languages, with Apple Swift in 2015, Java in 2017, and subsequently Google's Go and Mercury, a revitalized Visual Basic.NET. Elements also gained support for its fourth target platform, "Island", for CPU-native compilation for Windows, Linux, and WebAssembly. In addition to the chemical elements-based names for the different languages, the "Elements" concept was carried on with the introduction of dedicated development environments alchemically named Fire (for the Mac, in 2015) and Water (for Windows, in 2018). == Fire and Water (IDEs) == Fire and Water are integrated development environments developed by RemObjects Software. They are designed specifically for use with the Elements Compiler. Fire is the version developed for macOS, while Water is intended for Microsoft Windows. Both IDEs are designed to work closely with the Elements compiler and are primarily intended for developers using the RemObjects language ecosystem. They support software development across multiple platforms, including .NET, Android, iOS, macOS, Windows, Linux, and WebAssembly. The IDEs include standard development tools such as syntax highlighting, code completion, debugging, and project navigation. Build operations are managed using a custom system known as EBuild, which is part of the broader Elements toolchain. The IDEs are distributed as part of the RemObjects Elements package and are updated in coordination with the compiler itself. == In media == Oxygene has been mentioned several times by Verity Stob in their Chronicles of Delphi series, currently living at The Register.
AI@50
AI@50, formally known as the "Dartmouth Artificial Intelligence Conference: The Next Fifty Years" (July 13–15, 2006), was a conference organized by James H. Moor, commemorating the 50th anniversary of the Dartmouth workshop which effectively inaugurated the history of artificial intelligence. Five of the original ten attendees were present: Marvin Minsky, Ray Solomonoff, Oliver Selfridge, Trenchard More, and John McCarthy. While sponsored by Dartmouth College, General Electric, and the Frederick Whittemore Foundation, a $200,000 grant from the Defense Advanced Research Projects Agency (DARPA) called for a report of the proceedings that would: Analyze progress on AI's original challenges during the first 50 years, and assess whether the challenges were "easier" or "harder" than originally thought and why Document what the AI@50 participants believe are the major research and development challenges facing this field over the next 50 years, and identify what breakthroughs will be needed to meet those challenges Relate those challenges and breakthroughs against developments and trends in other areas such as control theory, signal processing, information theory, statistics, and optimization theory. A summary report by the conference director, James H. Moor, was published in AI Magazine. == Conference Program and links to published papers == James H. Moor, conference Director, Introduction Carol Folt and Barry Scherr, Welcome Carey Heckman, Tonypandy and the Origins of Science === AI: Past, Present, Future === John McCarthy, What Was Expected, What We Did, and AI Today Marvin Minsky, The Emotion Machine === The Future Model of Thinking === Ron Brachman and Hector Levesque, A Large Part of Human Thought David Mumford, What is the Right Model for 'Thought'? Stuart Russell, The Approach of Modern AI === The Future of Network Models === Geoffrey Hinton & Simon Osindero, From Pandemonium to Graphical Models and Back Again Rick Granger, From Brain Circuits to Mind Manufacture === The Future of Learning & Search === Oliver Selfridge, Learning and Education for Software: New Approaches in Machine Learning Ray Solomonoff, Machine Learning — Past and Future Leslie Pack Kaelbling, Learning to be Intelligent Peter Norvig, Web Search as a Product of and Catalyst for AI === The Future of AI === Rod Brooks, Intelligence and Bodies Nils Nilsson, Routes to the Summit Eric Horvitz, In Pursuit of Artificial Intelligence: Reflections on Challenges and Trajectories === The Future of Vision === Eric Grimson, Intelligent Medical Image Analysis: Computer Assisted Surgery and Disease Monitoring Takeo Kanade, Artificial Intelligence Vision: Progress and Non-Progress Terry Sejnowski, A Critique of Pure Vision === The Future of Reasoning === Alan Bundy, Constructing, Selecting and Repairing Representations of Knowledge Edwina Rissland, The Exquisite Centrality of Examples Bart Selman, The Challenge and Promise of Automated Reasoning === The Future of Language and Cognition === Trenchard More The Birth of Array Theory and Nial Eugene Charniak, Why Natural Language Processing is Now Statistical Natural Language Processing Pat Langley, Intelligent Behavior in Humans and Machines === The Future of the Future === Ray Kurzweil, Why We Can Be Confident of Turing Test Capability Within a Quarter Century George Cybenko, The Future Trajectory of AI Charles J. Holland, DARPA's Perspective === AI and Games === Jonathan Schaeffer, Games as a Test-bed for Artificial Intelligence Research Danny Kopec, Chess and AI Shay Bushinsky, Principle Positions in Deep Junior's Development === Future Interactions with Intelligent Machines === Daniela Rus, Making Bodies Smart Sherry Turkle, From Building Intelligences to Nurturing Sensibilities === Selected Submitted Papers: Future Strategies for AI === J. Storrs Hall, Self-improving AI: An Analysis Selmer Bringsjord, The Logicist Manifesto Vincent C. Müller, Is There a Future for AI Without Representation? Kristinn R. Thórisson, Integrated A.I. Systems === Selected Submitted Papers: Future Possibilities for AI === Eric Steinhart, Survival as a Digital Ghost Colin T. A. Schmidt, Did You Leave That 'Contraption' Alone With Your Little Sister? Michael Anderson & Susan Leigh Anderson, The Status of Machine Ethics Marcello Guarini, Computation, Coherence, and Ethical Reasoning
Content-based image retrieval
Content-based image retrieval, also known as query by image content (QBIC) and content-based visual information retrieval (CBVIR), is the application of computer vision techniques to the image retrieval problem, that is, the problem of searching for digital images in large databases (see this survey for a scientific overview of the CBIR field). Content-based image retrieval is opposed to traditional concept-based approaches (see Concept-based image indexing). "Content-based" means that the search analyzes the contents of the image rather than the metadata such as keywords, tags, or descriptions associated with the image. The term "content" in this context might refer to colors, shapes, textures, or any other information that can be derived from the image itself. CBIR is desirable because searches that rely purely on metadata are dependent on annotation quality and completeness. == Comparison with metadata searching == An image meta search requires humans to have manually annotated images by entering keywords or metadata in a large database, which can be time-consuming and may not capture the keywords desired to describe the image. The evaluation of the effectiveness of keyword image search is subjective and has not been well-defined. In the same regard, CBIR systems have similar challenges in defining success. "Keywords also limit the scope of queries to the set of predetermined criteria." and, "having been set up" are less reliable than using the content itself. == History == The term "content-based image retrieval" seems to have originated in 1992 when it was used by Japanese Electrotechnical Laboratory engineer Toshikazu Kato to describe experiments into automatic retrieval of images from a database, based on the colors and shapes present. Since then, the term has been used to describe the process of retrieving desired images from a large collection on the basis of syntactical image features. The techniques, tools, and algorithms that are used originate from fields such as statistics, pattern recognition, signal processing, and computer vision. === QBIC - Query By Image Content === The earliest commercial CBIR system was developed by IBM and was called QBIC (Query By Image Content). Recent network- and graph-based approaches have presented a simple and attractive alternative to existing methods. While the storing of multiple images as part of a single entity preceded the term BLOB (Binary Large OBject), the ability to fully search by content, rather than by description, had to await IBM's QBIC. === VisualRank === == Technical progress == The interest in CBIR has grown because of the limitations inherent in metadata-based systems, as well as the large range of possible uses for efficient image retrieval. Textual information about images can be easily searched using existing technology, but this requires humans to manually describe each image in the database. This can be impractical for very large databases or for images that are generated automatically, e.g. those from surveillance cameras. It is also possible to miss images that use different synonyms in their descriptions. Systems based on categorizing images in semantic classes like "cat" as a subclass of "animal" can avoid the miscategorization problem, but will require more effort by a user to find images that might be "cats", but are only classified as an "animal". Many standards have been developed to categorize images, but all still face scaling and miscategorization issues. Initial CBIR systems were developed to search databases based on image color, texture, and shape properties. After these systems were developed, the need for user-friendly interfaces became apparent. Therefore, efforts in the CBIR field started to include human-centered design that tried to meet the needs of the user performing the search. This typically means inclusion of: query methods that may allow descriptive semantics, queries that may involve user feedback, systems that may include machine learning, and systems that may understand user satisfaction levels. == Techniques == Many CBIR systems have been developed, but as of 2006, the problem of retrieving images on the basis of their pixel content remains largely unsolved. Different query techniques and implementations of CBIR make use of different types of user queries. === Query By Example === QBE (Query By Example) is a query technique that involves providing the CBIR system with an example image that it will then base its search upon. The underlying search algorithms may vary depending on the application, but result images should all share common elements with the provided example. Options for providing example images to the system include: A preexisting image may be supplied by the user or chosen from a random set. The user draws a rough approximation of the image they are looking for, for example with blobs of color or general shapes. This query technique removes the difficulties that can arise when trying to describe images with words. === Semantic retrieval === Semantic retrieval starts with a user making a request like "find pictures of Abraham Lincoln". This type of open-ended task is very difficult for computers to perform - Lincoln may not always be facing the camera or in the same pose. Many CBIR systems therefore generally make use of lower-level features like texture, color, and shape. These features are either used in combination with interfaces that allow easier input of the criteria or with databases that have already been trained to match features (such as faces, fingerprints, or shape matching). However, in general, image retrieval requires human feedback in order to identify higher-level concepts. === Relevance feedback (human interaction) === Combining CBIR search techniques available with the wide range of potential users and their intent can be a difficult task. An aspect of making CBIR successful relies entirely on the ability to understand the user intent. CBIR systems can make use of relevance feedback, where the user progressively refines the search results by marking images in the results as "relevant", "not relevant", or "neutral" to the search query, then repeating the search with the new information. Examples of this type of interface have been developed. === Iterative/machine learning === Machine learning and application of iterative techniques are becoming more common in CBIR. === Other query methods === Other query methods include browsing for example images, navigating customized/hierarchical categories, querying by image region (rather than the entire image), querying by multiple example images, querying by visual sketch, querying by direct specification of image features, and multimodal queries (e.g. combining touch, voice, etc.) == Content comparison using image distance measures == The most common method for comparing two images in content-based image retrieval (typically an example image and an image from the database) is using an image distance measure. An image distance measure compares the similarity of two images in various dimensions such as color, texture, shape, and others. For example, a distance of 0 signifies an exact match with the query, with respect to the dimensions that were considered. As one may intuitively gather, a value greater than 0 indicates various degrees of similarities between the images. Search results then can be sorted based on their distance to the queried image. Many measures of image distance (Similarity Models) have been developed. === Color === Computing distance measures based on color similarity is achieved by computing a color histogram for each image that identifies the proportion of pixels within an image holding specific values. Examining images based on the colors they contain is one of the most widely used techniques because it can be completed without regard to image size or orientation. However, research has also attempted to segment color proportion by region and by spatial relationship among several color regions. === Texture === Texture measures look for visual patterns in images and how they are spatially defined. Textures are represented by texels which are then placed into a number of sets, depending on how many textures are detected in the image. These sets not only define the texture, but also where in the image the texture is located. Texture is a difficult concept to represent. The identification of specific textures in an image is achieved primarily by modeling texture as a two-dimensional gray level variation. The relative brightness of pairs of pixels is computed such that degree of contrast, regularity, coarseness and directionality may be estimated. The problem is in identifying patterns of co-pixel variation and associating them with particular classes of textures such as silky, or rough. Other methods of classifying textures include: Co-occurrence matrix Laws texture energy Wavelet transform Orthogonal transforms (discrete Chebyshev moments) =
I Have No Mouth, and I Must Scream
"I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin
Camfecting
In computer security, camfecting is the process of attempting to hack into a person's webcam and activate it without the webcam owner's permission. The remotely activated webcam can be used to watch anything within the webcam's field of vision, sometimes including the webcam owner themselves. Camfecting is most often carried out by infecting the victim's computer with a virus that can provide the hacker access to their webcam. This attack is specifically targeted at the victim's webcam, and hence the name camfecting, a portmanteau of the words camera and infecting. Typically, a webcam hacker or a camfecter sends his victim an innocent-looking application which has a hidden Trojan software through which the camfecter can control the victim's webcam. The camfecter virus installs itself silently when the victim runs the original application. Once installed, the camfecter can turn on the webcam and capture pictures/videos. The camfecter software works just like the original webcam software present in the victim computer, the only difference being that the camfecter controls the software instead of the webcam's owner. == Notable cases == Marcus Thomas, former assistant director of the FBI's Operational Technology Division in Quantico, said in a 2013 story in The Washington Post that the FBI had been able to covertly activate a computer's camera—without triggering the light that lets users know it is recording—for several years. In November 2013, American teenager Jared James Abrahams pleaded guilty to hacking over 100-150 women and installing the highly invasive malware Blackshades on their computers in order to obtain nude images and videos of them. One of his victims was Miss Teen USA 2013 Cassidy Wolf. Researchers from Johns Hopkins University have shown how to covertly capture images from the iSight camera on MacBook and iMac models released before 2008, by reprogramming the microcontroller's firmware. == Prevention == A computer that does not have an up-to-date webcam software or any anti-virus (or firewall) software installed and operational may be at increased risk for camfecting from different types of malware. Softcams may nominally increase this risk, if not maintained or configured properly. Although a person cannot protect themselves from zero-day exploits that could potentially activate a camera unknowingly, such as Pegasus is able to do on smartphones. The only way to truly avoid being watched through your own camera is by blocking it physically, since software blocks can be overriden by advanced persistent threats. A simple piece of tape is more commonly used to offuscate the feed of the camera. With even Mark Zuckerberg doing so on his personal laptop that appeared during a presentation. And it being the way Snowden, an ex-contractor for the NSA, is portrayed to do so to prevent camfecting in the biopic Snowden. There is now a market for the manufacture and sale of sliding lens covers that allow users to physically block their computer's camera and, in some cases, microphone. A number of phone and laptop manufacturers tried to implement pop-up cameras that can only be opened manually by the user. But the trend did not become mainstream because of the engineering it took to keep the mechanisms up to date, aswell as the fragility and durability of the cameras.
Digital fashion
Digital fashion is a field of fashion design that relies on 3D software or artificial intelligence to produce hyper-realistic, data-intensive digital 3D garment simulations that are digital-only products or digital models for physical products. Digital garments can be worn and presented in virtual environments, social media, online gaming, virtual reality (VR), and augmented reality (AR) platforms. The field aims to contribute to the development of a more sustainable future for the fashion industry. It has been praised as a possible answer to ethical and creative concerns of traditional fashion by promoting innovation, reducing waste, and encouraging conscious consumption. However, empirical research has questioned whether digital fashion communities embody the radical and anti-consumerist values they claim. A 2025 study presented by YeSeung Lee at the FACTUM international conference on fashion communication analysed 88,141 posts across nine platforms over eight months using Pulsar. It found that only 4.8% of author biographies indicated any sociopolitical focus, and that discourse predominantly relied on generic slogans and trending buzzwords, primarily reinforcing existing fashion hierarchies and consumerist frameworks rather than challenging them. Digital fashion is also the interplay between digital technology and couture. Human AI is an intersection of technology and human representation, in which human value is emphasized and enhanced by technology and the possibilities of discovering design. Information and communication technologies (ICTs) have been deeply integrated both into the fashion industry, as well as within the experience of clients and prospects. Such interplay has happened at three main levels. ICTs are used to design and produce fashion products, while the industry organization also leverages digital technologies. ICTs impact marketing, distribution and sales. ICTs are extensively used in communication activities with all relevant stakeholders and contribute to co-create the fashion world. The fashion industry in general has paved the way for digital fashion to be introduced with more technology being in the industry, like virtual dressing rooms and the gamification of the fashion industry. Digital fashion is also seen on many different online fashion retail websites. This evolution in the fashion industry has called for more education and research of digital fashion. == Design, production, and organization == Among the many applications available to fashion designers to model the fusion of creativity with digital avenues, the Digital Textile Printing can be mentioned here. === Digital textile printing === Digital textile printing has brought together the worlds of fashion, technology, art, chemistry, and printing to produce a new process for printing textiles on clothing. Digital printing is a process in which prints are directly applied to fabrics with a printer, reducing 95% of the use of water, 75% of the use of energy and minimizing textile waste. The main advantage of digital printing is the ability to do very small runs of each design (even less than 1 yard). Digital Textile printing also offers other benefits, such as fast printing speeds that help the time and space needed to print different patterns on garments of choice. == Marketing, distribution, and sales == While all digital channels can be used in order to market and sell fashion completely online (eCommerce), they usually are implemented in connection with offline channels (so-called "omni-channel"). Here, virtual and augmented reality play a crucial role. The fashion industry has faced its own problems including pollution and fabric waste, which has resulted in a shift to more sustainable methods like digital fashion. The industry is also constantly being intertwined with digital media and has allowed for the use of digital tools within the business itself and with consumers. Two of the ways digital fashion is utilized with consumers is through virtual dressing rooms and virtual cosmetic counters. Prospects and clients can use ICTs - own computers, tablets and smartphones - to virtually simulate fitting rooms and cosmetics counters and see how they look in specific outfits and makeup. Customers can give any look and decide on what suits them and buy products. Oftentimes, beauty retailers will feature virtual fitting rooms to allow users to experience the look of their product before committing to a purchase. Some examples are color contact retailers Freshlook, which allows users to simulate contact lens wear in their color contacts studio before purchase. Colorful Eyes also offers a virtual color contact lens try-on room. === Virtual dressing room === A virtual dressing room (also often referred to as virtual fitting room and virtual changing room although they do perform different functions) is the online equivalent of the near-ubiquitous in-store changing room – that is, it enables shoppers to try on clothes to check one or more of size, fit or style, but virtually rather than physically. Fashion retailer Topshop installed a Kinect-powered virtual fitting room at its Moscow store. Created by AR Door, the Augmented Fitting Room system overlays 3D augmented reality clothes on the customer. Simple gestures and on-screen buttons let users "try on" different outfits. However, the high variability of virtual fit platforms to predict consumer clothes sizes called into question the accuracy of these systems in their current form. AI-powered Wardrobe and Outfit Planning Beyond virtual fitting rooms, the integration of artificial intelligence has enabled the rise of digital wardrobe management. These platforms use computer vision and machine learning to catalog a user’s physical or digital garments, providing automated outfit recommendations based on weather, occasion, and personal style trends. Fashion-tech startups utilize AI-driven garment simulation to help users plan outfits virtually, bridging the gap between digital-only fashion and physical wardrobe utility. This "smart closet" approach aims to reduce "wardrobe fatigue" and decrease unnecessary consumption by maximizing the use of existing items through digital visualization. === Communication and experience co-creation === Fashion is also a matter of socially negotiating what is "in" or "out", fashionable or not. In other words, fashion items do not only play on the economic market of physical goods but also - and sometimes even more importantly - on the semiotic market of the production of social tastes and customs. Thanks to social media, and to all services offered by the so-called web2.0, laypeople can contribute to co-create the fashion world, shaping tastes, customs, and fashion-related values. Social media, in general, has catapulted the impact fashion has on our everyday lives and values. Fashion has taken a central role in mass production and is constantly evolving due to the ever-lasting digital transformation. Social media has also helped evolve to a point where not only can brands reach consumers, but consumers can reach brands as well. TikTok for example started a trend in 2020 with #GucciModelChallenge. This creates a space where the brand is gaining awareness from their consumers in the ever-changing digital age. === Gamification === Gaming has played an important role in fostering digital aspects of the fashion world, first beginning with dress-up games that used avatars and allowed players to select garments. Nevertheless, it seems it will now move on to the real world and start using avatars of real people. Garments from luxurious brands have been copied and adapted into the aesthetics of games such as Animal Crossing: New Horizons and The Sims. As to the former, during COVID-19 lock-downs players recreated outfits from a variety of fashion brands, including Chanel, Gucci and Versace. It became a platform for users to showcase their costume designs. In April 2019, Moschino collaborated with simulation game The Sims in a capsule collection that featured signature Jeremy Scott garments. The collection was made available to shop and the campaign was set against the backdrop of a Sims-like atmosphere. Furthermore, in May 2019, Nike partnered up with Fortnite to include their iconic Jordan sneakers. In similar fashion, in May 2020, Marc Jacobs designed 6 of the brand's favorite looks for Nintendo's Animal Crossing: New Horizons in a partnership with Instagram user @AnimalCrossingFashionArchive. They were made available to download. Similarly, the other luxury brands mentioned, Louis Vuitton partnered with game League of Legends to create skins for characters within the game. Digital fashion in different video games allows users to express themselves beyond their avatars and combine the self-expression of fashion into the digital gaming realm. == Digital fashion education and research == Nowadays, the fashion industry needs experts in digital fashion, equipped with the above-ske