AI Analytics And Strategic Decision Making

AI Analytics And Strategic Decision Making — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Digital Image Processing with Sound

  DIPS (Digital Image Processing with Sound) is a set of plug-in objects that handle real-time digital image processing in Max/MSP programming environment. Combining with the built-in objects of the environment, DIPS enables to program the interaction between audio and visual events with ease, and supports the realization of interactive multimedia art as well as interactive computer music. == Summary of Features == A plug-in software for Max/MSP (Max 5 and 6) More than 300 Max external objects and abstractions More than 90 OpenGL objects included More than 110 visual effect objects (Dfx library, Core Image Filters) A utility library for the easy of programming (prefix Dlib) A comprehensive set of sample patches, and a detailed tutorial Handling images & movie files (QuickTime, OpenGL) Render and move 3D models (OpenGL) Video signal input (QuickTime, video texture) Video input analysis: motion detect, face tracking (OpenCV, OpenGL) Importing 3D models (.obj file) Importing Quartz Composer files OpenGL Shading Language (GLSL) programming interface Easy integration of visual events using DIPSWindowMixer (OpenGL) == Description == DIPS is a free plug-in software (a set of external objects) for Max/MSP. It supports the designing of the interaction between sound and visual events in Max using Apple’s Core Image, OpenGL and OpenCV technologies, and consequently, provides a powerful and user-friendly programming environment for the creation of interactive multimedia art. DIPS can be used to detect a performer’s motions and to track positions of subtle details, such as the face, mouth, and eyes. It can also be used to measure the distance between objects and a Kinect sensor system, and offers powerful tools for realtime image processing of incoming video stream and stored movie files. In addition, it can be used to create complex images in a virtual three-dimensional space. The DIPS consists of a library of more than 300 Max external objects and abstractions, a comprehensive set of sample patches, and a detailed tutorial. Some of its strong points, in comparison with other similar plug-ins and software, are its ease of programming, power, and efficiency. The sample patches and tutorial contained in the installation package allows composers and artists who are interested in the creation of interactive art to realize sophisticated realtime video effects on a live video signal at their first practice. And because of its ease of programming, it is likely that one will soon acquire skills needed to create state-of-the-art interactive performance works, multimedia installations, interactive multimedia artworks, and Max VJ applications using DIPS. == History == Initially developed by Shu Matsuda in 1997, DIPS was a plug-in software for Max/FTS running on SGI Octane and O2 computers. Since 2000, it has been developed by the DIPS Development Group supervised by Takayuki Rai. Current active group members are Shu Matsuda, Yota Morimoto, Takuto Fukuda, and Keitaro Takahashi. Previously, Chikashi Miyama, Daichi Ando and Takayuki Hamano also contributed to its development. 2013 DIPS5 for Max (Mac OS X) 2009 DIPS4 for Max/MSP (Mac OS X) 2006 DIPS3 for Max/MSP (Mac OS X) 2003 DIPS2 for jMax4 (Mac OS X) 2002 DIPS for jMax2 (Mac OS X & Linux) 2000 DIPS for jMax (Linux)

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  Oblivion (2013 film)

  Oblivion is a 2013 American epic post-apocalyptic science fiction action film produced and directed by Joseph Kosinski from a screenplay by Karl Gajdusek and Michael deBruyn, starring Tom Cruise in the main role alongside Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Nikolaj Coster-Waldau, and Melissa Leo in supporting roles. Based on Kosinski's unpublished Radical Comics graphic novel of the same name, the film pays homage to 1970s sci-fi, and is a "love story" set in 2077 on an Earth desolated by an alien war; a maintenance technician on the verge of completing his mission finds a woman who survived from a space ship crash, leading him to question his purpose and discover the truth about the war. Oblivion premiered in Buenos Aires on March 26, 2013, and was released in theaters by Universal Pictures on April 19. The film grossed $286 million worldwide on a production budget of $120 million and received mixed reviews from critics. == Plot == In 2017, aliens known as Scavengers attack Earth and destroy the Moon, triggering global natural disasters. Although humanity wins the war using nuclear weapons, Earth is left uninhabitable. Sixty years later, the remnants of humanity have relocated to a colony on Saturn's moon Titan, except for Unit 49—technician Jack and his communications officer Victoria—who are scheduled to join them in two weeks. The pair oversee hydro rigs that convert seawater into fusion energy for the Tet, the last remaining human colony ship in orbit. Though Jack and Victoria are romantically involved and have had their memories erased for security reasons, Jack experiences recurring dreams of an unknown woman. He also secretly visits a hidden, verdant valley where he has built a lakeside cabin and collects relics of Earth's past. While investigating a missing drone—autonomous, highly advanced, and heavily armed machines—Jack is nearly captured by Scavengers. Later, he discovers the Scavengers are transmitting a signal into space. A NASA pod crash-lands at the signal's coordinates, carrying five humans in suspended animation, including the woman from Jack's dreams. A drone arrives and destroys four of the pods, but Jack rescues the remaining one and brings the unconscious woman to Unit 49's base. After reviving her, Jack and Victoria learn that the woman, Julia, has been in stasis aboard the Odyssey spaceship since 2017. Julia insists on recovering the ship's flight recorder. However, she and Jack are captured by Scavengers and brought to the Raven Rock Mountain Complex. Their leader, Malcolm, reveals that the Scavengers are actually surviving humans. Malcolm needs Jack to reprogram a captured drone to deliver a nuclear bomb, built from Odyssey's reactor, to the Tet. Jack refuses, so Malcolm releases him and Julia, urging him to seek the truth in the radiation zone, which is supposedly deadly and off-limits. Julia helps Jack recall that she is his wife, and fragments of his memories begin to return. When they arrive back at Unit 49, a devastated Victoria informs Sally, the Tet's mission controller, that she and Jack are no longer an "effective team." A drone activates and kills Victoria. Jack and Julia destroy the drone, but crash their aircraft inside the radiation zone. There, they encounter another version of Jack—"Jack-52"—who arrives to repair the drone. Jack subdues him, but Julia is seriously injured in the fight. Jack impersonates his clone to infiltrate Unit 52, meets Victoria-52, and steals medical supplies for Julia. They rest at his cabin. At Raven Rock, Malcolm reveals the truth: humanity lost the war, and the Tet is an alien machine intelligence harvesting Earth's resources. After the Moon's destruction, the Tet deployed thousands of clones of astronaut Jack Harper—brainwashed into obedience—to exterminate the remaining humans. Malcolm had assumed these clones were inhuman until witnessing Jack show interest in a discarded book, hinting at lingering humanity. Jack reprograms the captured drone, but it is destroyed in a surprise attack by other drones, leaving Malcolm badly wounded. Jack and Julia resolve to deliver the bomb themselves; Julia enters a stasis pod. En route, Jack listens to the Odyssey's flight recorder, which reveals the original Jack Harper and Victoria were astronauts sent to explore Titan before being confronted by the Tet. The pair were captured, but not before Jack ejected the remaining crew—including Julia—in stasis pods to protect them. Jack gains access to the Tet by claiming he is delivering Julia, as previously instructed. However, the stasis pod contains a dying Malcolm. Jack and Malcolm detonate the bomb, destroying the Tet and themselves. Julia later awakens at the cabin. Three years later, Julia lives there and it is revealed she had a daughter with Jack. A group of Raven Rock survivors arrives, alongside Jack-52, who has begun regaining fragments of his own lost identity. == Cast == Tom Cruise as Jack Harper—Tech 49, a technician who works to repair drones on Earth and questions his mission. Originally, he was the American commander of a mission en route to Titan who was captured by the Tet and cloned to fight humanity. Cruise also plays Jack Harper—Tech 52, a clone who seeks out Julia after the destruction of the Tet. Morgan Freeman as Malcolm Beech, an American veteran soldier and leader of a large community of scavengers, the human survivors of the alien Tet's attacks. Olga Kurylenko as Julia Rusakova Harper, Jack's wife and a Russian crew member on the Odyssey, who was sent back towards Earth by her husband to protect her from the initial contact with the Tet. Andrea Riseborough as Victoria "Vika" Olsen, Jack's communications partner and housemate. Originally, she was the British co-pilot of Jack's mission to Titan who was captured and cloned to assist in the Tet's war on humanity. Riseborough also plays a clone of Vika who Jack misleads to obtain medical supplies. Nikolaj Coster-Waldau as Sergeant Sykes, the main military commander of Beech's community of scavengers who is skeptical of Jack at first. Melissa Leo as the Tet, an alien artificial intelligence seeking to acquire Earth's natural resources and wipe out humanity. Leo also plays Sally, the mission director of Jack and Julia's mission to Titan; her likeness was copied by the Tet to serve as its visual and auditory representation. Zoë Bell as Kara, a soldier and member of the scavengers. == Production == === Development === Joseph Kosinski started the movie process by beginning work on a graphic novel called Oblivion featuring his story. While the completion of this would be teased to the public and the concept was used to pitch the movie, it was never finished and Kosinski claims he never intended to, stating it was "just a stage in the project [of film development]". Arvid Nelson was billed as co-writer and Radical Comics was attached as publisher. The novel was never finished; Kosinski explaining: "the partnership with Radical Comics allowed me to continue working on the story by developing a series of images and continuing to refine the story more over a period of years. Then I basically used all that development as a pitch kit to the studio. So even though we really never released it as an illustrated novel the story is being told as a film, which was always the intention." Walt Disney Pictures, which produced Kosinski's previous film Tron: Legacy (2010), acquired the Oblivion film adaptation rights from Radical Comics and Kosinski after a heated auction in August 2010. The film was a directing vehicle for Kosinski, with Barry Levine producing, and Jesse Berger executive producing. Other studios that made bids on the film were Paramount Pictures, 20th Century Fox, and Universal Pictures. Disney subsequently released the rights after realizing the PG-rated film they envisioned, in line with their family-oriented reputation, would require too many story changes. Universal, which had also bid for the original rights, then bought them from Kosinski and Radical and authorized a PG-13 film version. The film's script was originally written by Kosinski and William Monahan and underwent a first rewrite by Karl Gajdusek. When the film passed into Universal's hands, a final rewrite was done by Michael Arndt, under the pen name "Michael deBruyn". Universal was particularly appreciative of the script, saying, "It's one of the most beautiful scripts we've ever come across." The Bubble Ship operated by Cruise's main character, Jack 49, was inspired by the Bell 47 helicopter (often colloquially referred to as a "bubble cockpit" helicopter), a utilitarian 1947 vehicle with a transparent round canopy that Kosinski saw in the lobby of the Museum of Modern Art in Manhattan, and which he likened to a dragonfly. Daniel Simon, who previously worked with Kosinski as the lead vehicle designer on Tron: Legacy, was tasked with creating the Bubble Ship from this basis, incorporating elements evocative of an advanced fighter

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  History of artificial life

  Humans have considered and tried to create non-biological life for at least 3,000 years. As seen in tales ranging from Pygmalion to Frankenstein, humanity has long been intrigued by the concept of artificial life. == Pre-computer == The earliest examples of artificial life involve sophisticated automata constructed using pneumatics, mechanics, and/or hydraulics. The first automata were conceived during the third and second centuries BC and these were demonstrated by the theorems of Hero of Alexandria, which included sophisticated mechanical and hydraulic solutions. Many of his notable works were included in the book Pneumatics, which was also used for constructing machines until early modern times. In 1490, Leonardo da Vinci also constructed an armored knight, which is considered the first humanoid robot in Western civilization. Other early famous examples include al-Jazari's humanoid robots. This Arabic inventor once constructed a band of automata, which can be commanded to play different pieces of music. There is also the case of Jacques de Vaucanson's artificial duck exhibited in 1735, which had thousands of moving parts and one of the first to mimic a biological system. The duck could reportedly eat and digest, drink, quack, and splash in a pool. It was exhibited all over Europe until it fell into disrepair. In the late 1600s, following René Descartes' claims that animals could be understood as purely physical machines, there was increasing interest in the question of whether a machine could be designed that, like an animal, could generate offspring (a self-replicating machine). However, it wasn't until the invention of cheap computing power that artificial life as a legitimate science began in earnest, steeped more in the theoretical and computational than the mechanical and mythological. == 1950s–1970s == One of the earliest thinkers of the modern age to postulate the potentials of artificial life, separate from artificial intelligence, was math and computer prodigy John von Neumann. At the Hixon Symposium, hosted by Linus Pauling in Pasadena, California in the late 1940s, von Neumann delivered a lecture titled "The General and Logical Theory of Automata." He defined an "automaton" as any machine whose behavior proceeded logically from step to step by combining information from the environment and its own programming, and said that natural organisms would in the end be found to follow similar simple rules. He also spoke about the idea of self-replicating machines. He postulated a made-up of a control computer, a construction arm, and a long series of instructions, floating in a lake of parts. By following the instructions that were part of its own body, it could create an identical machine. He followed this idea by creating (with Stanislaw Ulam) a purely logic-based automaton, not requiring a physical body but based on the changing states of the cells in an infinite grid – the first cellular automaton. It was extraordinarily complicated compared to later CAs, having hundreds of thousands of cells which could each exist in one of twenty-nine states, but von Neumann felt he needed the complexity in order for it to function not just as a self-replicating "machine", but also as a universal computer as defined by Alan Turing. This "universal constructor" read from a tape of instructions and wrote out a series of cells that could then be made active to leave a fully functional copy of the original machine and its tape. Von Neumann worked on his automata theory intensively right up to his death, and considered it his most important work. Homer Jacobson illustrated basic self-replication in the 1950s with a model train set – a seed "organism" consisting of a "head" and "tail" boxcar could use the simple rules of the system to consistently create new "organisms" identical to itself, so long as there was a random pool of new boxcars to draw from. Edward F. Moore proposed "Artificial Living Plants", which would be floating factories which could create copies of themselves. They could be programmed to perform some function (extracting fresh water, harvesting minerals from seawater) for an investment that would be relatively small compared to the huge returns from the exponentially growing numbers of factories. Freeman Dyson also studied the idea, envisioning self-replicating machines sent to explore and exploit other planets and moons, and a NASA group called the Self-Replicating Systems Concept Team performed a 1980 study on the feasibility of a self-building lunar factory. University of Cambridge professor John Horton Conway invented the most famous cellular automaton in the 1960s. He called it the Game of Life, and publicized it through Martin Gardner's column in Scientific American magazine. Norwegian-Italian mathematician Nils Aall Barricelli, who worked mainly at US institutions, was a pioneer in computer based simulation of biological processes such as symbiogenesis and evolution. == 1970s–1980s == Philosophy scholar Arthur Burks, who had worked with von Neumann (and indeed, organized his papers after Neumann's death), headed the Logic of Computers Group at the University of Michigan. He brought the overlooked views of 19th century American thinker Charles Sanders Peirce into the modern age. Peirce was a strong believer that all of nature's workings were based on logic (though not always deductive logic). The Michigan group was one of the few groups still interested in alife and CAs in the early 1970s; one of its students, Tommaso Toffoli argued in his PhD thesis that the field was important because its results explain the simple rules that underlay complex effects in nature. Toffoli later provided a key proof that CAs were reversible, just as the true universe is considered to be. Christopher Langton was an unconventional researcher, with an undistinguished academic career that led him to a job programming DEC mainframes for a hospital. He became enthralled by Conway's Game of Life, and began pursuing the idea that the computer could emulate living creatures. After years of study, he began attempting to actualize Von Neumann's CA and the work of Edgar F. Codd, who had simplified Von Neumann's original twenty-nine state monster to one with only eight states. He succeeded in creating the first self-replicating computer organism in October 1979, using only an Apple II desktop computer. He entered Burks' graduate program at the Logic of Computers Group in 1982, at the age of 33, and helped to found a new discipline. Langton's official conference announcement of Artificial Life I was the earliest description of a field which had previously barely existed: Artificial life is the study of artificial systems that exhibit behavior characteristic of natural living systems. It is the quest to explain life in any of its possible manifestations, without restriction to the particular examples that have evolved on earth. This includes biological and chemical experiments, computer simulations, and purely theoretical endeavors. Processes occurring on molecular, social, and evolutionary scales are subject to investigation. The ultimate goal is to extract the logical form of living systems. Microelectronic technology and genetic engineering will soon give us the capability to create new life forms in silico as well as in vitro. This capacity will present humanity with the most far-reaching technical, theoretical and ethical challenges it has ever confronted. The time seems appropriate for a gathering of those involved in attempts to simulate or synthesize aspects of living systems. Ed Fredkin founded the Information Mechanics Group at MIT, which united Toffoli, Norman Margolus, and Charles Bennett. This group created a computer especially designed to execute cellular automata, eventually reducing it to the size of a single circuit board. This "cellular automata machine" allowed an explosion of alife research among scientists who could not otherwise afford sophisticated computers. In 1982, computer scientist named Stephen Wolfram turned his attention to cellular automata. He explored and categorized the types of complexity displayed by one-dimensional CAs, and showed how they applied to natural phenomena such as the patterns of seashells and the nature of plant growth. Norman Packard, who worked with Wolfram at the Institute for Advanced Study, used CAs to simulate the growth of snowflakes, following very basic rules. Computer animator Craig Reynolds similarly used three simple rules to create recognizable flocking behaviour in a computer program in 1987 to animate groups of boids. With no top-down programming at all, the boids produced lifelike solutions to evading obstacles placed in their path. Computer animation has continued to be a key commercial driver of alife research as the creators of movies attempt to find more realistic and inexpensive ways to animate natural forms such as plant life, animal movement, hair growth, and complicated org

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  Legal Knowledge Interchange Format

  The Legal Knowledge Interchange Format (LKIF) was developed in the European ESTRELLA project and was designed with the goal of becoming a standard for representing and interchanging policy, legislation and cases, including their justificatory arguments, in the legal domain. LKIF builds on and uses the Web Ontology Language (OWL) for representing concepts and includes a reusable basic ontology of legal concepts. The core of LKIF consists of a combination of OWL-DL and SWRL. LKIF was designed with two main roles in mind: the translation of legal knowledge bases written in different representation formats and formalisms and to be a knowledge representation formalism which could be part of larger architectures for developing legal knowledge systems.

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  Software development process

  A software development process prescribes a process for developing software. It typically divides an overall effort into smaller steps or sub-processes that are intended to ensure high-quality results. The process may describe specific deliverables – artifacts to be created and completed. Although not strictly limited to it, software development process often refers to the high-level process that governs the development of a software system from its beginning to its end of life – known as a methodology, model or framework. The system development life cycle (SDLC) describes the typical phases that a development effort goes through from the beginning to the end of life for a system – including a software system. A methodology prescribes how engineers go about their work in order to move the system through its life cycle. A methodology is a classification of processes or a blueprint for a process that is devised for the SDLC. For example, many processes can be classified as a spiral model. Software process and software quality are closely interrelated; some unexpected facets and effects have been observed in practice. == Methodology == The SDLC drives the definition of a methodology in that a methodology must address the phases of the SDLC. Generally, a methodology is designed to result in a high-quality system that meets or exceeds expectations (requirements) and is delivered on time and within budget even though computer systems can be complex and integrate disparate components. Various methodologies have been devised, including waterfall, spiral, agile, rapid prototyping, incremental, and synchronize and stabilize. A major difference between methodologies is the degree to which the phases are sequential vs. iterative. Agile methodologies, such as XP and scrum, focus on lightweight processes that allow for rapid changes. Iterative methodologies, such as Rational Unified Process and dynamic systems development method, focus on stabilizing project scope and iteratively expanding or improving products. Sequential or big-design-up-front (BDUF) models, such as waterfall, focus on complete and correct planning to guide larger projects and limit risks to successful and predictable results. Anamorphic development is guided by project scope and adaptive iterations. In scrum, for example, one could say a single user story goes through all the phases of the SDLC within a two-week sprint. By contrast the waterfall methodology, where every business requirement is translated into feature/functional descriptions which are then all implemented typically over a period of months or longer. A project can include both a project life cycle (PLC) and an SDLC, which describe different activities. According to Taylor (2004), "the project life cycle encompasses all the activities of the project, while the systems development life cycle focuses on realizing the product requirements". === History === The term SDLC is often used as an abbreviated version of SDLC methodology. Further, some use SDLC and traditional SDLC to mean the waterfall methodology. According to Elliott (2004), SDLC "originated in the 1960s, to develop large scale functional business systems in an age of large scale business conglomerates. Information systems activities revolved around heavy data processing and number crunching routines". The structured systems analysis and design method (SSADM) was produced for the UK government Office of Government Commerce in the 1980s. Ever since, according to Elliott (2004), "the traditional life cycle approaches to systems development have been increasingly replaced with alternative approaches and frameworks, which attempted to overcome some of the inherent deficiencies of the traditional SDLC". The main idea of the SDLC has been "to pursue the development of information systems in a very deliberate, structured and methodical way, requiring each stage of the life cycle––from the inception of the idea to delivery of the final system––to be carried out rigidly and sequentially" within the context of the framework being applied. Other methodologies were devised later: 1970s Structured programming since 1969 Cap Gemini SDM, originally from PANDATA, the first English translation was published in 1974. SDM stands for System Development Methodology 1980s Structured systems analysis and design method (SSADM) from 1980 onwards Information Requirement Analysis/Soft systems methodology 1990s Object-oriented programming (OOP) developed in the early 1960s and became a dominant programming approach during the mid-1990s Rapid application development (RAD), since 1991 Dynamic systems development method (DSDM), since 1994 Scrum, since 1995 Team software process, since 1998 Rational Unified Process (RUP), maintained by IBM since 1998 Extreme programming, since 1999 2000s Agile Unified Process (AUP) maintained since 2005 by Scott Ambler Disciplined agile delivery (DAD) Supersedes AUP 2010s Scaled Agile Framework (SAFe) Large-Scale Scrum (LeSS) DevOps Since DSDM in 1994, all of the methodologies on the above list except RUP have been agile methodologies - yet many organizations, especially governments, still use pre-agile processes (often waterfall or similar). === Examples === The following are notable methodologies somewhat ordered by popularity. Agile Agile software development refers to a group of frameworks based on iterative development, where requirements and solutions evolve via collaboration between self-organizing cross-functional teams. The term was coined in the year 2001 when the Agile Manifesto was formulated. Waterfall The waterfall model is a sequential development approach, in which development flows one-way (like a waterfall) through the SDLC phases. Spiral In 1988, Barry Boehm published a software system development spiral model, which combines key aspects of the waterfall model and rapid prototyping, in an effort to combine advantages of top-down and bottom-up concepts. It emphases a key area many felt had been neglected by other methodologies: deliberate iterative risk analysis, particularly suited to large-scale complex systems. Incremental Various methods combine linear and iterative methodologies, with the primary objective of reducing inherent project risk by breaking a project into smaller segments and providing more ease-of-change during the development process. Prototyping Software prototyping is about creating prototypes, i.e. incomplete versions of the software program being developed. Rapid Rapid application development (RAD) is a methodology which favors iterative development and the rapid construction of prototypes instead of large amounts of up-front planning. The "planning" of software developed using RAD is interleaved with writing the software itself. The lack of extensive pre-planning generally allows software to be written much faster and makes it easier to change requirements. Shape Up Shape Up is a software development approach introduced by Basecamp in 2018. It is a set of principles and techniques that Basecamp developed internally to overcome the problem of projects dragging on with no clear end. Its primary target audience is remote teams. Shape Up has no estimation and velocity tracking, backlogs, or sprints, unlike waterfall, agile, or scrum. Instead, those concepts are replaced with appetite, betting, and cycles. As of 2022, besides Basecamp, notable organizations that have adopted Shape Up include UserVoice and Block. Chaos Chaos model has one main rule: always resolve the most important issue first. Incremental funding Incremental funding methodology - an iterative approach. Lightweight Lightweight methodology - a general term for methods that only have a few rules and practices. Structured systems analysis and design Structured systems analysis and design method - a specific version of waterfall. Slow programming As part of the larger slow movement, emphasizes careful and gradual work without (or minimal) time pressures. Slow programming aims to avoid bugs and overly quick release schedules. V-Model V-Model (software development) - an extension of the waterfall model. Unified Process Unified Process (UP) is an iterative software development methodology framework, based on Unified Modeling Language (UML). UP organizes the development of software into four phases, each consisting of one or more executable iterations of the software at that stage of development: inception, elaboration, construction, and guidelines. === Comparison === The waterfall model describes the SDLC phases such that each builds on the result of the previous one. Not every project requires that the phases be sequential. For relatively simple projects, phases may be combined or overlapping. Alternative methodologies to waterfall are described and compared below. == Process meta-models == Some process models are abstract descriptions for evaluating, comparing, and improving the specific process adopted by an organization. ISO/IEC 12207 ISO/IEC 12207 i

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  Anna Ridler

  Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)

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  Gene expression programming

  Gene expression programming (GEP) in computer programming is an evolutionary algorithm that creates computer programs or models. These computer programs are complex tree structures that learn and adapt by changing their sizes, shapes, and composition, much like a living organism. And like living organisms, the computer programs of GEP are also encoded in simple linear chromosomes of fixed length. Thus, GEP is a genotype–phenotype system, benefiting from a simple genome to keep and transmit the genetic information and a complex phenotype to explore the environment and adapt to it. == Background == Evolutionary algorithms use populations of individuals, select individuals according to fitness, and introduce genetic variation using one or more genetic operators. Their use in artificial computational systems dates back to the 1950s where they were used to solve optimization problems (e.g. Box 1957 and Friedman 1959). But it was with the introduction of evolution strategies by Rechenberg in 1965 that evolutionary algorithms gained popularity. A good overview text on evolutionary algorithms is the book "An Introduction to Genetic Algorithms" by Mitchell (1996). Gene expression programming belongs to the family of evolutionary algorithms and is closely related to genetic algorithms and genetic programming. From genetic algorithms it inherited the linear chromosomes of fixed length; and from genetic programming it inherited the expressive parse trees of varied sizes and shapes. In gene expression programming the linear chromosomes work as the genotype and the parse trees as the phenotype, creating a genotype/phenotype system. This genotype/phenotype system is multigenic, thus encoding multiple parse trees in each chromosome. This means that the computer programs created by GEP are composed of multiple parse trees. Because these parse trees are the result of gene expression, in GEP they are called expression trees. Masood Nekoei, et al. utilized this expression programming style in ABC optimization to conduct ABCEP as a method that outperformed other evolutionary algorithms.ABCEP == Encoding: the genotype == The genome of gene expression programming consists of a linear, symbolic string or chromosome of fixed length composed of one or more genes of equal size. These genes, despite their fixed length, code for expression trees of different sizes and shapes. An example of a chromosome with two genes, each of size 9, is the string (position zero indicates the start of each gene): 012345678012345678 L+a-baccdcLabacd where “L” represents the natural logarithm function and “a”, “b”, “c”, and “d” represent the variables and constants used in a problem. == Expression trees: the phenotype == As shown above, the genes of gene expression programming have all the same size. However, these fixed length strings code for expression trees of different sizes. This means that the size of the coding regions varies from gene to gene, allowing for adaptation and evolution to occur smoothly. For example, the mathematical expression: ( a − b ) ( c + d ) {\displaystyle {\sqrt {(a-b)(c+d)}}\,} can also be represented as an expression tree: where "Q” represents the square root function. This kind of expression tree consists of the phenotypic expression of GEP genes, whereas the genes are linear strings encoding these complex structures. For this particular example, the linear string corresponds to: 01234567 Q-+abcd which is the straightforward reading of the expression tree from top to bottom and from left to right. These linear strings are called k-expressions (from Karva notation). Going from k-expressions to expression trees is also very simple. For example, the following k-expression: 01234567890 Qb+baQba is composed of two different terminals (the variables “a” and “b”), two different functions of two arguments (“” and “+”), and a function of one argument (“Q”). Its expression gives: == K-expressions and genes == The k-expressions of gene expression programming correspond to the region of genes that gets expressed. This means that there might be sequences in the genes that are not expressed, which is indeed true for most genes. The reason for these noncoding regions is to provide a buffer of terminals so that all k-expressions encoded in GEP genes correspond always to valid programs or expressions. The genes of gene expression programming are therefore composed of two different domains – a head and a tail – each with different properties and functions. The head is used mainly to encode the functions and variables chosen to solve the problem at hand, whereas the tail, while also used to encode the variables, provides essentially a reservoir of terminals to ensure that all programs are error-free. For GEP genes the length of the tail is given by the formula: t = h ( n max − 1 ) + 1 {\displaystyle t=h(n_{\max }-1)+1} where h is the head's length and nmax is maximum arity. For example, for a gene created using the set of functions F = {Q, +, −, ∗, /} and the set of terminals T = {a, b}, nmax = 2. And if we choose a head length of 15, then t = 15 (2–1) + 1 = 16, which gives a gene length g of 15 + 16 = 31. The randomly generated string below is an example of one such gene: 0123456789012345678901234567890 b+a-aQab+//+b+babbabbbababbaaa It encodes the expression tree: which, in this case, only uses 8 of the 31 elements that constitute the gene. It's not hard to see that, despite their fixed length, each gene has the potential to code for expression trees of different sizes and shapes, with the simplest composed of only one node (when the first element of a gene is a terminal) and the largest composed of as many nodes as there are elements in the gene (when all the elements in the head are functions with maximum arity). It's also not hard to see that it is trivial to implement all kinds of genetic modification (mutation, inversion, insertion, recombination, and so on) with the guarantee that all resulting offspring encode correct, error-free programs. == Multigenic chromosomes == The chromosomes of gene expression programming are usually composed of more than one gene of equal length. Each gene codes for a sub-expression tree (sub-ET) or sub-program. Then the sub-ETs can interact with one another in different ways, forming a more complex program. The figure shows an example of a program composed of three sub-ETs. In the final program the sub-ETs could be linked by addition or some other function, as there are no restrictions to the kind of linking function one might choose. Some examples of more complex linkers include taking the average, the median, the midrange, thresholding their sum to make a binomial classification, applying the sigmoid function to compute a probability, and so on. These linking functions are usually chosen a priori for each problem, but they can also be evolved elegantly and efficiently by the cellular system of gene expression programming. == Cells and code reuse == In gene expression programming, homeotic genes control the interactions of the different sub-ETs or modules of the main program. The expression of such genes results in different main programs or cells, that is, they determine which genes are expressed in each cell and how the sub-ETs of each cell interact with one another. In other words, homeotic genes determine which sub-ETs are called upon and how often in which main program or cell and what kind of connections they establish with one another. === Homeotic genes and the cellular system === Homeotic genes have exactly the same kind of structural organization as normal genes and they are built using an identical process. They also contain a head domain and a tail domain, with the difference that the heads contain now linking functions and a special kind of terminals – genic terminals – that represent the normal genes. The expression of the normal genes results as usual in different sub-ETs, which in the cellular system are called ADFs (automatically defined functions). As for the tails, they contain only genic terminals, that is, derived features generated on the fly by the algorithm. For example, the chromosome in the figure has three normal genes and one homeotic gene and encodes a main program that invokes three different functions a total of four times, linking them in a particular way. From this example it is clear that the cellular system not only allows the unconstrained evolution of linking functions but also code reuse. And it shouldn't be hard to implement recursion in this system. === Multiple main programs and multicellular systems === Multicellular systems are composed of more than one homeotic gene. Each homeotic gene in this system puts together a different combination of sub-expression trees or ADFs, creating multiple cells or main programs. For example, the program shown in the figure was created using a cellular system with two cells and three normal genes. The applications of these multicellular systems are mu

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  Gundam Build Divers Re:Rise

  Gundam Build Divers Re:Rise (Japanese: ガンダムビルドダイバーズRe:RISE, Hepburn: Gandamu Birudo Daibāzu Re:Raizu) is a Japanese original net animation anime series produced by Sunrise Beyond, and the fourth series within the Gundam Build Series sub-series. A sequel to the 2018 anime Gundam Build Divers, it is the first Gundam anime series to be released in the Reiwa period, released to celebrate the franchise's 40th anniversary. The series is directed by Shinya Watada and written by Yasuyuki Muto. Initially announced at the Gundam 40th anniversary video, the series aired on its Gundam Channel YouTube channel from October 10 to December 26, 2019. A TV airing of the ONA began on BS11 on October 12, 2019, and on January 28, 2020, on Tokyo MX. A second season aired from April 9 to August 27, 2020. Two spinoffs of the series were later serialized in Kadokawa's Gundam Ace magazine and Hobby Japan. == Plot == Two years have passed since the EL-Diver Incident, an event that almost destroyed the Gunpla Battle Nexus Online (GBN) game until it was resolved by the force group known as "Build Divers", and soon after more EL-Divers were discovered. In order to make the game more secure, a newer version of the game was rolled out in order to prevent the same incident from happening again and with newer experiences that would make the gameplay more immersive to players. The story focuses on Hiroto Kuga, a high schooler who is a rogue mercenary Gunpla Diver in GBN, who goes in the game and wanders throughout its countless dimensions while helping out other Divers whether it is on insistence or by hire. Despite his selfless act, he chooses to remain unaffiliated with anyone and refuses rewards and Force (Diver parties) group invites, isolating himself from other people even in real life. His primary goal as a Diver is to be reunited with a mysterious girl from his past named Eve, who was in fact the very first EL-Diver to appear in the game. But after a special request mission, Hiroto is united with three other active Divers in a strange world named "Eldora" and forms the Force group "BUILD DiVERS" in what appears to be just another GBN gamespace event, until they learn the truth about Eldora and its consequences not only for GBN, but for the entire world. == Characters == === BUILD DiVERS === Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi (Japanese); Billy Kametz (English) The main protagonist of the series and a high-school builder, veteran diver, and a former ace member of the Force group Avalon, who lives in Yokohama. He was one of the first minors to make it to the deep end of GBN, due to his conviction of being a person who does his best to help others. He was active prior and during the events of the previous series. Now working as a rogue diver for hire after leaving Avalon, he wanders the GBN gamespace alone, harboring regrets, resentments, and suffering from trauma after the death of his close friend and lover, the EL-Diver Eve. He is very calm and a man of few words, usually refusing others' reward and help, especially on joining other forces, but this stoic persona is a mental mask to hide his condition from everyone, including his parents. But when a special mission done by Freddie united him with Kazami, May and Parviz, they accidentally formed the force team named "BUILD DiVERS" to protect the Eldorans from the One-Eyes army. Currently he is the ace of his unit and the leader of the overall force. Hiroto uses the PFF-X7 Core Gundam as his main Gunpla, based on the RX-78-2 Gundam from the original Mobile Suit Gundam series. Its special armament system called the "core-change" gimmick and his first theme invented from that gimmick is the "Planets System". This allows the Core Gundam to be equipped with various types of armor and weapons, each for a different situation named after the eight planets. Hiroto later upgrades his Gunpla into the PFF-X7II Core Gundam II. This new Core Gundam can transform into the "Core Flyer", in a similar fashion to the original Gundam's FF-X7 Core Fighter for increased mobility and like its predecessor, it can also use the Planets System: Earth Armor (PFF-X7/E3 Earthree Gundam): Core Gundam's default blue armor, focused on traditional all-around combat. Mars Armor (PFF-X7/M4 Marsfour Gundam): A red armor whose focus is on fragments of four styles of close combat, hence "Cross-Combat". Venus Armor (PFF-X7/V2 Veetwo Gundam): A green armor whose focus is commando style ranged and bombardment combat, additionally with option works. Mercury Armor (PFF-X7/M1 Mercuone Gundam): A navy armor whose focus is underwater combat. Jupiter Armor (PFF-X7/J5 Jupitive Gundam): A white armor whose focus is fast orbital combat. Uranus Armor (PFF-X7II/U7 Uraven Gundam): An indigo armor focused on reconnaissance and high powered sniping. Saturn Armor (PFF-X7II/S6 Saturnix Gundam): An orange armor focused in demolition style close combat without beam weapons, originally developed to counter Gundam Frames. Neptune Armor (PFF-X7II/N8 Nepteight Gundam): An aqua-green armor equipped with a customized Volture Lumiere system similar to the one from Mobile Suit Gundam SEED C.E. 73: Stargazer, intended to be used for traveling through GBN's space in a short amount of time, but was used for launching into orbit instead of maneuvering in deep space. It is ultimately discarded in Eldora's orbit due to the strain of leaving Eldora's gravitational field. Pluto Armor (PFF-X7II+/P9 Plutine Gundam): Appearing only on Gundam Build Metaverse, the black colored armor is used for close combat and dueling purposes with its color scheme reminiscent of that of EcoPla. PFF-X7II/BUILD DiVERS Re:Rising Gundam: A special combination of the Core Gundam II with the WoDom Pod + and parts from the Gundam Aegis Knight and the EX Valkylander, armed with two giant beam sabers, eight miracle wings born from Eve's blessings, and the "Grand Cross Cannon", Hiroto's first special move, made with the help of his team. In one occasion, Hiroto changes his avatar to a Haro to pilot the Mobile Builder Haro Loader to help with the repairs on Cuadorn by making a prosthetic wing out of gunpla parts. During the Gunpla Battle Royal, he pilots an unmodified ASW-G-08 Gundam Barbatos Lupus Rex from Mobile Suit Gundam: Iron-Blooded Orphans. In Battlelogue, it is revealed that he has made a second Core Gundam II that he leaves on Eldora with the colors of the Gundam MK-II Titan. Another variant of this Gunpla sports the old "Gundam G3" colors with his team's personal crest, which is most likely to represent Sarah since the color of her hair, eyes, and dress embody Hiroto's time with Eve before they joined Avalon and to symbolize how he has officially befriended the original Build Divers. Each of the two units have unique advancements, the Titan color specializes in ground and underwater combat and the G3 color specializes in aerial and space combat. May (メイ, Mei) Voiced by: Mai Fuchigami (Japanese); Lauren Landa (English) A seemingly late teens female diver who prefers to play solo, she is a very calm and no-nonsense girl whose interest is in battles alone. However, she is not a fan of those who engage their opponents head on and prefers to implement a strategic approach. She is mature and has a strong sense of justice, and can be impulsive rushing into situations, especially for those in danger. Later in the series, she is revealed to be one of the 87 EL-Divers, however she was not one of those who were saved after the EL-Diver incident two years ago, she was born shortly after. After she was born she was given her own Mobile Doll body similar to Sarah, that is when she first met her, Koichi, Tsukasa, and Nanami. During the Lotus Challenge Eldoran style rehearsal battle it is revealed that she, as a new sister of Sarah, addresses the latter as the older since Sarah is chronologically older, regardless of her maturity. In the final episode, she is revealed to have been born with the remnant data originating from Eve, the first born EL-Diver who Hiroto befriended and fell in love with several years ago, and carries Eve's earring on her armband. In Battlelogue, it's implied that she is currently living with Hiroto IRL and in GBN is his attendant. May uses the JMA0530-MAY WoDom Pod as her main Gunpla, which is a customized JMA-0530 Walking Dome from Turn A Gundam. In the later episodes, the mobile suit is revealed to be a disguise for its true form, the HER-SELF Mobile Doll May. May later upgrades her WoDom Pod into the JMA0530-MAYBD WoDom Pod +. During the Gunpla Battle Royal, she uses her Mobile Doll (albeit with a new color scheme and the Gundam Base logo) along with an unmodified NZ-999 II Neo Zeong mobile armor from Mobile Suit Gundam Narrative. Kazami Torimachi (トリマチ・カザミ, Torimachi Kazami) / Kazami (カザミ, Kazami) Voiced by: Masaaki Mizunaka (Japanese); Ray Chase (English) A diver who was a former member of the diver group "Mu Dish". He is a very energet

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  List of Java software and tools

  This is a list of software and programming tools for the Java programming language, which includes frameworks, libraries, IDEs, build tools, application servers, and related projects. == Java frameworks == == Libraries == Apache Ant – build automation tool Apache Batik – SVG processing Apache Cayenne – object-relational mapping Apache Xerces – collection of software libraries for parsing, validating, serializing and manipulating XML. Applet – applet API Ardor3D – 3D graphics engine Bonita BPM – workflow engine Cassowary – constraint solving Checkstyle – static code analysis GNU Classpath – standard library implementation Colt – scientific computing and technical computing Commons Daemon – manages applications as daemons DESMO-J – discrete event simulation Diagrams.net – diagramming Disruptor – high-performance messaging Dom4j – XML processing Dynamic Languages Toolkit – support for dynamic programming languages on the JVM Echo – GUI Flying Saucer – XHTML/CSS rendering Formatting Objects Processor – XSL-FO to PDF H2 Database Engine – relational database IAIK-JCE – cryptography Internet Foundation Classes – legacy GUI JavaBeans – reusable component architecture for enabling encapsulation, events, and properties for software components JavaCC – open-source parser generator and lexical analyzer Java Class Library – standard library of Java and other JVM languages Java Native Access – provides Java programs easy access to native shared libraries without using the Java Native Interface Javolution – real-time computing Jblas – linear algebra JDBCFacade – simplifies JDBC use JExcel – Excel API JFugue – music programming JMusic – music programming Joget Workflow – workflow engine JOOQ Object Oriented Querying – fluent API for SQL JPOS – financial messaging JUNG – open-source graph modeling and visualization LanguageWare – language processing LibGDX – game development Modular Audio Recognition Framework – collection of voice, sound, speech, text and natural language processing algorithms. ASM – bytecode manipulation Open Inventor – 3D graphics OpenPDF – PDF Parallel Colt – parallel computing Parboiled – parser PlayN – game development QOCA – constraint solving QtJambi – Qt bindings SLF4J – logging StableUpdate – update management SWT – GUI SuanShu – numerical computing SwingLabs – GUI extensions UBY – natural language processing Undecimber – calendar XDoclet – attribute-oriented programming XINS – XML network services XStream – object serialization == Machine learning and AI == Apache Mahout – scalable machine learning library focused on clustering, classification, and collaborative filtering Apache MXNet – deep learning framework with Java API support Apache OpenNLP – machine learning based toolkit for natural language processing of text Deeplearning4j – distributed deep learning library Deep Java Library – open-source deep learning framework developed by Amazon Web Services Encog – framework for neural networks, genetic algorithms, Hidden Markov model, and Bayesian networks. LIBSVM – Support Vector Machine implementation Mallet – machine learning toolkit for classification, clustering, and topic modeling. MLlib – distributed machine-learning framework on top of Apache Spark Core Neuroph – lightweight neural network framework Weka – collection of machine learning algorithms for data mining Yooreeka – machine learning == Data mining == Java Data Mining (JDM) – standard Java API for data mining Massive Online Analysis (MOA) – data stream mining with concept drift == Math and scientific libraries == Apache Commons Math – general-purpose mathematics library including statistics, linear algebra, and optimization. Colt – high-performance scientific computing, including linear algebra and random numbers. Efficient Java Matrix Library (EJML) – dense and sparse matrix computations and linear algebra Easy Java Simulations – Open Source Physics project designed to create discrete computer simulations Exp4j – evaluates mathematical expressions at runtime GroovyLab – numerical computational environment Hipparchus – fork of Apache Commons Math with updated algorithms for statistics, linear algebra, and optimization. JAMA – numerical linear algebra library Jblas: Linear Algebra for Java (Jblas) – linear algebra library using native BLAS/LAPACK bindings Java Astrodynamics Toolkit – numerical library of software components for use in spaceflight applications for Java or MATLAB Matrix Toolkit Java (MTJ) – linear algebra library with BLAS and LAPACK support OjAlgo – optimization, linear algebra, and financial calculations. OptimJ – extension for mathematical optimization and constraint programming Parallel Colt – A parallel extension of Colt SuanShu – numerical analysis, linear algebra, statistics, and optimization. == Integrated development environments == See also: Java IDEs on Wikibooks Android Studio – IDE for Google's Android operating system BlueJ – educational IDE for teaching Java DrJava – lightweight Java IDE for beginners Eclipse IDE – open-source IDE with extensive plugin ecosystem Greenfoot – educational IDE IntelliJ IDEA – commercial and community editions from JetBrains JDeveloper – freeware IDE supplied by Oracle Corporation jGRASP – software visualizations MyEclipse – Java EE IDE NetBeans IDE – Apache NetBeans Visual Studio Code – general-purpose editor with Java extensions === Online IDEs === Eclipse Che GitHub Codespaces JDoodle Replit == Text editors with Java support == == Build tools and package managers == Apache Ant – automating software build Apache Ivy – subproject of Apache Ant Apache Maven – build automation and dependency management Boot – build automation for Clojure CMake – build tool with limited support for java Gradle – modern build automation tool Go continuous delivery (GoCD) – continuous delivery and build automation server Jenkins – automation server continuous delivery JitPack – package repository for Git projects Leiningen – build automation for Clojure Simple build tool (sbt) – open-source build tool Spring Roo – rapid application development of Java-based enterprise software WaveMaker – low-code development platform == Java runtimes, compilers and virtual machines == Android Runtime – runtime environment javac – Java programming language compiler Java Virtual Machine (JVM) – virtual machine that executes Java bytecode JD Decompiler JEB decompiler – disassembler and decompiler software for Android applications GraalVM – Just-in-time compilation HotSpot – JVM implementation included in OpenJDK == JVM languages and dialects == Clojure – Lisp dialect Groovy JRuby – Ruby implementation Jython – Python implementation Kotlin – popular for Android app development Renjin – R implementation Scala == Application servers and containers == Apache Geronimo – open source application server Apache MINA – event-driven asynchronous network application framework Apache Tomcat – web container and web server Apache TomEE – Apache Tomcat with Java EE features Borland Enterprise Server – discontinued application server by Borland ColdFusion – commercial application server by Adobe Systems GlassFish – application server for Jakarta EE IBM WebSphere Application Server – enterprise application server by IBM IBM WebSphere Application Server Community Edition – open source edition of WebSphere (discontinued) JBoss Enterprise Application Platform – Red Hat's supported distribution of JBoss/WildFly JEUS – commercial Java EE application server from TmaxSoft Jetty – HTTP server and web container Lucee (formerly Railo) – open source CFML application server Netty – non-blocking I/O client–server framework for network applications Oracle Containers for J2EE – discontinued application server by Oracle Oracle WebLogic Server – enterprise application server by Oracle Orion Application Server – early commercial Java EE server by IronFlare Payara Server – fork of GlassFish for production use Resin – Java application server by Caucho (open source and professional editions) SAP NetWeaver Application Server – enterprise application server by SAP WildFly – application server == Debugging and profiling tools == jdb – Java debugger bundled with the JDK JConsole – JMX-compliant monitoring tool JDK Flight Recorder – method profiling, allocation profiling, and garbage collection related events. JProfiler – commercial Java profiler VisualVM – visual tool integrating commandline JDK tools for profiling and monitoring == Testing and quality assurance == Apache JMeter – load testing tool JaCoCo – Java code coverage library JArchitect – analyzes code quality, architecture, and dependencies. Jtest – software testing and static analysis JUnit – unit testing framework Mockito – open-source testing framework for Java PMD – static program analysis source code analyzer Selenium – browser automation for web app testing Spock – test framework SpotBugs (formerly FindBugs) – static analysis tool TestNG – testing framework inspired by JUnit and NUnit == Other == Apache XMLBeans –

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  Fuzzy concept

  A fuzzy concept is an idea of which the boundaries of application can vary considerably according to context or conditions, instead of being fixed once and for all. That means the idea is somewhat vague or imprecise. Yet it is not unclear or meaningless. It has a definite meaning, which can often be made more exact with further elaboration and specification — including a closer definition of the context in which the concept is used. The inverse of a "fuzzy concept" is a "crisp concept" (i.e. a precise concept). Fuzzy concepts are often used to navigate imprecision in the real world, when precise information is not available and an approximate indication is sufficient to be helpful. Although the linguist George Philip Lakoff already defined the semantics of a fuzzy concept in 1973 (inspired by an unpublished 1971 paper by Eleanor Rosch,) the term "fuzzy concept" rarely received a standalone entry in dictionaries, handbooks and encyclopedias. Sometimes it was defined in encyclopedia articles on fuzzy logic, or it was simply equated with a mathematical “fuzzy set”. A fuzzy concept can be "fuzzy" for many different reasons in different contexts. This makes it harder to provide a precise definition that covers all cases. Paradoxically, the definition of fuzzy concepts may itself be somewhat "fuzzy". Lotfi A. Zadeh, known as "the father of fuzzy logic", claimed that "vagueness connotes insufficient specificity, whereas fuzziness connotes unsharpness of class boundaries". Not all scholars agree. With increasing academic literature on the subject, the term "fuzzy concept" is now more widely recognized as a philosophical, linguistic or scientific category, and the study of the characteristics of fuzzy concepts and fuzzy language is known as fuzzy semantics. “Fuzzy logic” has become a generic term for many different kinds of many-valued logics, and is applied in many different areas of research, computer programming and industrial design. For engineers, "Fuzziness is imprecision or vagueness of definition." For computer scientists, a fuzzy concept is an idea which is "to an extent applicable" in a situation. It means that the concept can have gradations of significance or unsharp (variable) boundaries of application — a "fuzzy statement" is a statement which is true "to some extent", and that extent can often be represented by a scaled value (a score). For mathematicians, a "fuzzy concept" is usually a fuzzy set or a combination of such sets (see fuzzy mathematics and fuzzy set theory). In cognitive linguistics, the things that belong to a "fuzzy category" exhibit gradations of family resemblance, and the borders of the category are not clearly defined. Through most of the 20th century, the idea of reasoning with fuzzy concepts faced considerable resistance from Western academic elites. They did not want to endorse the use of imprecise concepts in research or argumentation, and they often regarded fuzzy logic with suspicion, derision or even hostility. That may partly explain why the idea of a "fuzzy concept" did not get a separate entry in encyclopedias, handbooks and dictionaries. Yet although people might not be aware of it, the use of fuzzy concepts has risen gigantically in all walks of life from the 1970s onward. That is mainly due to advances in electronic engineering, fuzzy mathematics and digital computer programming. The new technology allows very complex inferences about "variations on a theme" to be anticipated and fixed in a program. The Perseverance Mars rover, a driverless NASA vehicle used to explore the Jezero crater on the planet Mars, features fuzzy logic programming that steers it through rough terrain. Similarly, to the North, the Chinese Mars rover Zhurong used fuzzy logic algorithms to calculate its travel route in Utopia Planitia from sensor data. New neuro-fuzzy computational methods make it possible for machines to identify, measure, adjust and respond to fine gradations of significance with great precision. It means that practically useful concepts can be coded, sharply defined, and applied to all kinds of tasks, even if ordinarily these concepts are never exactly defined. Nowadays engineers, statisticians and programmers often represent fuzzy concepts mathematically, using fuzzy logic, fuzzy values, fuzzy variables and fuzzy sets (see also fuzzy set theory). Fuzzy logic is not "woolly thinking", but a "precise logic of imprecision" which reasons with graded concepts and gradations of truth. Fuzzy concepts and fuzzy logic often play a significant role in artificial intelligence programming, for example because they can model human cognitive processes more easily than other methods. == Origins == Vagueness and fuzziness have probably always been a part of human experience. In the West, ancient texts show that philosophers and scientists were already thinking critically about this in classical antiquity. Most often, they regarded vagueness as a problem: as an obstacle to clear thinking, as a source of confusion, or as an evasive tactic. It got in the way of providing clear orientation, guidance, direction and leadership. Therefore, vagueness became associated with a hermeneutic of suspicion — it was considered as something to avoid, as something undesirable. By contrast, in the ancient Chinese tradition of Daoist thought of Laozi and Zhuang Zhou, "vagueness is not regarded with suspicion, but is simply an acknowledged characteristic of the world around us" — a subject for meditation and a source of insight. === Sorites paradox === The ancient Sorites paradox raised the logical problem, of how we could exactly define the threshold at which a change in quantitative gradation turns into a qualitative or categorical difference. With some physical processes, this threshold seems relatively easy to identify. For example, water turns into steam at 100 °C or 212 °F. Of course, the boiling point depends partly on atmospheric pressure, which decreases at higher altitudes; it is also affected by the level of humidity — in that sense, the boiling point is "somewhat fuzzy", because it can vary under different conditions. Nevertheless, for every altitude, level of air pressure and degree of humidity, we can predict accurately what the boiling point will be, if we know the relevant conditions. With many other processes and gradations, however, the point of change is much more difficult to locate, and remains somewhat vague. Thus, the boundaries between qualitatively different things may be unsharp: we know that there are boundaries, but we cannot define them exactly. For example, to identify "the oldest city in the world", we have to define what counts as a city, and at what point a growing human settlement becomes a city. === The continuum fallacy and Loki's wager === According to the modern idea of the continuum fallacy, the fact that a statement is to an extent vague, does not automatically mean that it has no validity. The question then arises, of how (by what method or approach) we could ascertain and define the validity that the fuzzy statement does have. The Nordic myth of Loki's wager suggested that concepts that lack precise meanings or lack precise boundaries of application cannot be operated with, because they evade any clear definition. However, the 20th-century idea of "fuzzy concepts" proposes that "somewhat vague terms" can be operated with, because we can explicate and define the variability of their application — by assigning numbers to gradations of applicability. This idea sounds simple enough, but it had large implications. === Precursors and pioneers === In Western civilization, the intellectual recognition of fuzzy concepts has been traced back to a diversity of famous and less well-known thinkers, including (among many others) Eubulides, Epicurus, Plato, Cicero, William Ockham and John Buridan, Georg Wilhelm Friedrich Hegel, Karl Marx and Friedrich Engels, Friedrich Nietzsche, William James, Hugh MacColl, Charles S. Peirce, Hans Reichenbach, Carl Gustav Hempel, Max Black, Arto Salomaa, Ludwig Wittgenstein, Jan Łukasiewicz, Emil Leon Post, Alfred Tarski, Georg Cantor, Nicolai A. Vasiliev, Kurt Gödel, Stanisław Jaśkowski, Willard Van Orman Quine, George J. Klir, Petr Hájek, Joseph Goguen, Ronald R. Yager, Enrique Héctor Ruspini, Jan Pavelka, Didier Dubois, Bernadette Bouchon-Meunier, and Donald Knuth. Across at least two and a half millennia, all of them had something to say about graded concepts with unsharp boundaries. This suggests at least that the awareness of the existence of concepts with "fuzzy" characteristics, in one form or another, has a very long history in human thought. Quite a few 20th century logicians, mathematicians and philosophers also tried to analyze the characteristics of fuzzy concepts as a recognized species, sometimes with the aid of some kind of many-valued logic or substructural logic. An early attempt in the post-WW2 era to create a mathematical theory of sets with gradations of

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  Cooperative coevolution

  Cooperative Coevolution (CC) in the field of biological evolution is an evolutionary computation method. It divides a large problem into subcomponents, and solves them independently in order to solve the large problem. The subcomponents are also called species. The subcomponents are implemented as subpopulations and the only interaction between subpopulations is in the cooperative evaluation of each individual of the subpopulations. The general CC framework is nature inspired where the individuals of a particular group of species mate amongst themselves, however, mating in between different species is not feasible. The cooperative evaluation of each individual in a subpopulation is done by concatenating the current individual with the best individuals from the rest of the subpopulations as described by M. Potter. The cooperative coevolution framework has been applied to real world problems such as pedestrian detection systems, large-scale function optimization and neural network training. It has also be further extended into another method, called Constructive cooperative coevolution. == Pseudocode == i := 0 for each subproblem S do Initialise a subpopulation Pop0(S) calculate fitness of each member in Pop0(S) while termination criteria not satisfied do i := i + 1 for each subproblem S do select Popi(S) from Popi-1(S) apply genetic operators to Popi(S) calculate fitness of each member in Popi(S)

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  The Way (novel series)

  The Way series is a trilogy of science fiction novels and one short story by American author Greg Bear published from 1985 to 1999. The first novel was Eon (1985), followed by a sequel, Eternity and a prequel, Legacy. It also includes The Way of All Ghosts, a short story that falls between Legacy and Eon. == Novels == === Eon === Eon chronicles the appearance and discovery of the Thistledown, and its subsequent effect on humanity. In the early 21st century, the United States and the USSR are on the verge of nuclear war. In that tense political climate, an asteroid appears out of near space after an unusual supernova and settles into an extremely elliptical orbit near Earth orbit. The two nations each try to claim this mysterious object, which appears to be a virtual duplicate of Juno. It is hollow and contains seven vast terraformed chambers. Two of the chambers contain cities long abandoned by human beings who seemed to come from Earth's future. The asteroid is called the Thistledown by its builders. A startling discovery is that it is bigger inside than outside. The seventh chamber appears to stretch into infinity. The human inhabitants of the Thistledown come from an alternate timeline, approximately 1000 years in the future. In their timeline, human civilization was nearly destroyed by the "Death", a calamitous World War involving nuclear weapons. The Death occurred at approximately the same time as the appearance of the Thistledown in the present time. Its presence threatens to cause the Death to occur on the current timeline as well. An expedition is sent down the seemingly infinite seventh chamber (The "Way", as it is known) where it encounters the descendants of humanity. The high technology of this civilization, known as the Hexamon, has control over genetic engineering, human augmentation, and matter itself. The Hexamon includes several alien species who have come to live with humanity's descendants. The Hexamon itself is at war with an alien race known as the Jarts from further down the corridor still. In 2007, CGSociety organised a "CG Challenge" based upon Eon === Eternity === Jarts, politics, and technology make up the second book in the series: Eternity. The Jart religion is based on the preservation of all data, which encompasses all life forms, past and present, and sending that data to the Jarts' future masters, their descendants. === Legacy === In the third book (a prequel, set in the time before Eon), Legacy, soldier Olmy ap Sennon is sent to spy on a group of dissidents who have used the spacetime tunnel of "the Way" (introduced in Eon) to colonize the alien world of Lamarckia, a planet with an ecosystem that learns from its changed environment in a way that resembles Lamarckian evolution. Its plants and animals turn out to actually be parts of continent-sized organisms. === "The Way of All Ghosts" === In the short story "The Way of All Ghosts" soldier Olmy ap Sennon is sent to close a lesion that formed out of a wayward gate into perfection. This story was published in 1999 in Far Horizons. == Fictional history of the Thistledown == Within the universe of The Way, the Thistledown is an asteroid starship built by hollowing out Juno and fitting it with mass-driver (rail gun) engines and thermonuclear drives. Inside the asteroid, seven giant "Chambers" are built, of which two host cities for the inhabitants, while others host machinery and recreation areas. The asteroid is prepared 500 years in the future, as told in Bear's novel Eon, and is engaged on a multi-generational journey to Epsilon Eridani, around which a habitable planet is known to circle. The journey is meant to take 60 years, as the ship can only maintain a velocity of 20% the speed of light. This limitation is removed after the technology of the Thistledown was improved to include inertial dampeners, allowing higher accelerations. Inhabiting the Thistledown are the best and brightest of Earth, who are quite diverse both culturally and politically. The Thistledown's society includes one transcendent genius, Konrad Korzenowski, whose preference for living in the Thistledown as compared with an outer universe, causes him to experiment with closed-geodesic space time in the Seventh Chamber, 20 years into the Thistledown's voyage. The results of his experiments are shattering in the extreme: He creates a unique pocket universe: The Way. == The Way == === Origin === The eponymous Way is an extension of the 7th Chamber, and was formed in the novels using the machinery of the 6th Chamber. This machinery is a selective inertial damper, developed by engineers within the Thistledown with twofold purpose—to permit the Thistledown to accelerate to the limit of its engines (up to 99% the speed of light) and to selectively dampen inertia within the vessel, e.g., water within waterways, high velocity train systems. The inertial dampening machinery within the 6th Chamber is anchored to the structure of the Thistledown, equally spaced around the chamber at the vertices of a regular heptagon. === Creation === At the creation, and rejoining of the Way to the Thistledown, the character Konrad Korzenowski and his engineers designed and 'built' the Way out of the in-folded geodesics of the inertial dampening field of the 6th Chamber machinery. This is described in the books by first considering the inertial dampening field: Within the Thistledown, the field envelops the asteroid, effectively isolating it from the Einsteinian Metrical Frame, permitting relative inertia to be ignored. The Thistledown was, at the time of activation, isolated from its continuum, but only selectively. Its matter and energy anchored it to its continuum and relative time, but its geometry and quantum entanglement had been strained by the inertial dampener, thus making it susceptible to superspace distortions, and therefore it could be affected by them negatively. Korzenowski, having been influenced by the earlier work of Vazquez on Earth, and in developing her work within the Thistledown, planned a radical extension of the inertial field of the 6th Chamber - effectively extending the field away to an infinite extent within the 7th Chamber. In order to do this effectively, he and his engineers modified a set of semi-sentient field calibration tools to build the first Clavicles. Unlike the field calibration tools from which they were descended, the Clavicles possessed the ability not only to manipulate the field, but extend it as an extension of the will of the operator. Already radical enough, Korzenowski and his team went further. By extending the field of the 6th Chamber from within the 7th Chamber of the Thistledown, they could then directly access what Vasquez had calculated within her own work—alternate world lines as non-gravity bent geodesics of superspace. Korzenowski thus 'felt' superspace within the 7th Chamber, selecting the infinite selection of possible alternate pocket universes accessible by the Clavicle to form, as a sheer act of will, the Way from his designs and his vision. The resulting structure was constructed, not of matter, but of previously in-folded superspace vectors now infinitely extended. (in the manner of Schwarzschild folded geometry, or of an asymptotic curve.) The Way was thus opened. The Way's geometry also gave rise to the Flaw - as superspace geometry of the field boundary was extended infinitely, so the folded geodesics of the field unfold in the geometric centre of the Way to form a singularity. This singularity, the Flaw, rests within the Way's plasma tube (which in turn is sustained by the Flaw). The Flaw 'produces' gravity by actively repulsing matter away from itself in an acceleration at the square of the distance away from itself. In addition, any object encircling the Flaw, and then exerting pressure against it, experiences this pressure as a translation force along the Flaw's length perpendicular to the direction of force. The motion thus induced is controllable by the angle at which an annular ring enclosure is pressed against the Flaw. The same spatial transform also can be used to turn tip turbines in order to generate electricity. The Flaw permits a violation of the First Law of Thermodynamics, therefore defining the Way as a perpetual motion machine of the First Order, making energy out of nothing. === Early history === The Way, as formed, was described by Bear as being in vacuum and did not consist of matter within its infinite length. Due to extremely slight ambiguity involved in its creation, the synchronicity between time within the Way, and within the Thistledown, was not exact. Thus, the Engineers spend two decades working to correct these faults using the Clavicles to manipulate the junction between Way and Thistledown. During this period, ambition led Korzenowksi to use the clavicle to open the first exploratory gate within the way, leading to the universe of the Jarts. Though the gate to Jart world was closed, the advanced Jarts neve

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  Rule induction

  Rule induction is an area of machine learning in which formal rules are extracted from a set of observations. The rules extracted may represent a full scientific model of the data, or merely represent local patterns in the data. Data mining in general and rule induction in detail are trying to create algorithms without human programming but with analyzing existing data structures. In the easiest case, a rule is expressed with “if-then statements” and was created with the ID3 algorithm for decision tree learning. Rule learning algorithm are taking training data as input and creating rules by partitioning the table with cluster analysis. A possible alternative over the ID3 algorithm is genetic programming which evolves a program until it fits to the data. Creating different algorithm and testing them with input data can be realized in the WEKA software. Additional tools are machine learning libraries for Python, like scikit-learn. == Paradigms == Some major rule induction paradigms are: Association rule learning algorithms (e.g., Agrawal) Decision rule algorithms (e.g., Quinlan 1987) Hypothesis testing algorithms (e.g., RULEX) Horn clause induction Version spaces Rough set rules Inductive Logic Programming Boolean decomposition (Feldman) == Algorithms == Some rule induction algorithms are: Charade Rulex Progol CN2

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  Minne Atairu

  Minne Atairu is a Nigerian interdisciplinary artist, a recipient of the 2021 Global South Award Lumen Prize for Art and Technology. She generates synthetic Benin Bronzes through recombination of historical fragments, sculptures, texts, images, and sounds. == Early life and education == Atairu was born in Benin, Nigeria. She holds a bachelor's degree in art history from the University of Maiduguri in Maiduguri, Nigeria; a master's degree in museum studies from the George Washington University in Washington, D.C.; and a doctorate in art education from Teachers College, Columbia University in New York City. Her academic research integrates artificial intelligence, art/museum education and hip-hop based education. == Works == Atairu's artmaking involves using artificial intelligence (AI; such as StyleGAN, GPT-3) to make artwork. She uses tools such as Midjourney and Blender software to develop her works. === Mami Wata === Her first work is a Yoruba goddess called Mami Wata where she used Midjourney in generating the images. === To the Hand === For her 2023 installation To the Hand at The Shed arts center, she worked with Blender to convert text into 3D-printed sculptures made of corn starch or sugarcane infused with bronze. The rings of ground terra-cotta that surround the sculpture represent the walls and deep moats of Benin. == Publications == Atairu, Minne (February 1, 2024). "Reimagining Benin Bronzes using generative adversarial networks". AI & Society. 39 (1): 91–102. doi:10.1007/s00146-023-01761-7. ISSN 1435-5655.

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  Trevor Paglen

  Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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