AI App Gemini

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  • Manifold regularization

    Manifold regularization

    In machine learning, manifold regularization is a technique for using the shape of a dataset to constrain the functions that should be learned on that dataset. In many machine learning problems, the data to be learned do not cover the entire input space. For example, a facial recognition system may not need to classify any possible image, but only the subset of images that contain faces. The technique of manifold learning assumes that the relevant subset of data comes from a manifold, a mathematical structure with useful properties. The technique also assumes that the function to be learned is smooth: data with different labels are not likely to be close together, and so the labeling function should not change quickly in areas where there are likely to be many data points. Because of this assumption, a manifold regularization algorithm can use unlabeled data to inform where the learned function is allowed to change quickly and where it is not, using an extension of the technique of Tikhonov regularization. Manifold regularization algorithms can extend supervised learning algorithms in semi-supervised learning and transductive learning settings, where unlabeled data are available. The technique has been used for applications including medical imaging, geographical imaging, and object recognition. == Manifold regularizer == === Motivation === Manifold regularization is a type of regularization, a family of techniques that reduces overfitting and ensures that a problem is well-posed by penalizing complex solutions. In particular, manifold regularization extends the technique of Tikhonov regularization as applied to Reproducing kernel Hilbert spaces (RKHSs). Under standard Tikhonov regularization on RKHSs, a learning algorithm attempts to learn a function f {\displaystyle f} from among a hypothesis space of functions H {\displaystyle {\mathcal {H}}} . The hypothesis space is an RKHS, meaning that it is associated with a kernel K {\displaystyle K} , and so every candidate function f {\displaystyle f} has a norm ‖ f ‖ K {\displaystyle \left\|f\right\|_{K}} , which represents the complexity of the candidate function in the hypothesis space. When the algorithm considers a candidate function, it takes its norm into account in order to penalize complex functions. Formally, given a set of labeled training data ( x 1 , y 1 ) , … , ( x ℓ , y ℓ ) {\displaystyle (x_{1},y_{1}),\ldots ,(x_{\ell },y_{\ell })} with x i ∈ X , y i ∈ Y {\displaystyle x_{i}\in X,y_{i}\in Y} and a loss function V {\displaystyle V} , a learning algorithm using Tikhonov regularization will attempt to solve the expression arg min f ∈ H 1 ℓ ∑ i = 1 ℓ V ( f ( x i ) , y i ) + γ ‖ f ‖ K 2 {\displaystyle {\underset {f\in {\mathcal {H}}}{\arg \!\min }}{\frac {1}{\ell }}\sum _{i=1}^{\ell }V(f(x_{i}),y_{i})+\gamma \left\|f\right\|_{K}^{2}} where γ {\displaystyle \gamma } is a hyperparameter that controls how much the algorithm will prefer simpler functions over functions that fit the data better. Manifold regularization adds a second regularization term, the intrinsic regularizer, to the ambient regularizer used in standard Tikhonov regularization. Under the manifold assumption in machine learning, the data in question do not come from the entire input space X {\displaystyle X} , but instead from a nonlinear manifold M ⊂ X {\displaystyle M\subset X} . The geometry of this manifold, the intrinsic space, is used to determine the regularization norm. === Laplacian norm === There are many possible choices for the intrinsic regularizer ‖ f ‖ I {\displaystyle \left\|f\right\|_{I}} . Many natural choices involve the gradient on the manifold ∇ M {\displaystyle \nabla _{M}} , which can provide a measure of how smooth a target function is. A smooth function should change slowly where the input data are dense; that is, the gradient ∇ M f ( x ) {\displaystyle \nabla _{M}f(x)} should be small where the marginal probability density P X ( x ) {\displaystyle {\mathcal {P}}_{X}(x)} , the probability density of a randomly drawn data point appearing at x {\displaystyle x} , is large. This gives one appropriate choice for the intrinsic regularizer: ‖ f ‖ I 2 = ∫ x ∈ M ‖ ∇ M f ( x ) ‖ 2 d P X ( x ) {\displaystyle \left\|f\right\|_{I}^{2}=\int _{x\in M}\left\|\nabla _{M}f(x)\right\|^{2}\,d{\mathcal {P}}_{X}(x)} In practice, this norm cannot be computed directly because the marginal distribution P X {\displaystyle {\mathcal {P}}_{X}} is unknown, but it can be estimated from the provided data. === Graph-based approach of the Laplacian norm === When the distances between input points are interpreted as a graph, then the Laplacian matrix of the graph can help to estimate the marginal distribution. Suppose that the input data include ℓ {\displaystyle \ell } labeled examples (pairs of an input x {\displaystyle x} and a label y {\displaystyle y} ) and u {\displaystyle u} unlabeled examples (inputs without associated labels). Define W {\displaystyle W} to be a matrix of edge weights for a graph, where W i j {\displaystyle W_{ij}} is a similarity built from distance measure between the data points x i {\displaystyle x_{i}} and x j {\displaystyle x_{j}} (so that more close implies higher W i j {\displaystyle W_{ij}} ). Define D {\displaystyle D} to be a diagonal matrix with D i i = ∑ j = 1 ℓ + u W i j {\displaystyle D_{ii}=\sum _{j=1}^{\ell +u}W_{ij}} and L {\displaystyle L} to be the Laplacian matrix D − W {\displaystyle D-W} . Then, as the number of data points ℓ + u {\displaystyle \ell +u} increases, L {\displaystyle L} converges to the Laplace–Beltrami operator Δ M {\displaystyle \Delta _{M}} , which is the divergence of the gradient ∇ M {\displaystyle \nabla _{M}} . Then, if f {\displaystyle \mathbf {f} } is a vector of the values of f {\displaystyle f} at the data, f = [ f ( x 1 ) , … , f ( x l + u ) ] T {\displaystyle \mathbf {f} =[f(x_{1}),\ldots ,f(x_{l+u})]^{\mathrm {T} }} , the intrinsic norm can be estimated: ‖ f ‖ I 2 = 1 ( ℓ + u ) 2 f T L f {\displaystyle \left\|f\right\|_{I}^{2}={\frac {1}{(\ell +u)^{2}}}\mathbf {f} ^{\mathrm {T} }L\mathbf {f} } As the number of data points ℓ + u {\displaystyle \ell +u} increases, this empirical definition of ‖ f ‖ I 2 {\displaystyle \left\|f\right\|_{I}^{2}} converges to the definition when P X {\displaystyle {\mathcal {P}}_{X}} is known. === Solving the regularization problem with graph-based approach === Using the weights γ A {\displaystyle \gamma _{A}} and γ I {\displaystyle \gamma _{I}} for the ambient and intrinsic regularizers, the final expression to be solved becomes: arg min f ∈ H 1 ℓ ∑ i = 1 ℓ V ( f ( x i ) , y i ) + γ A ‖ f ‖ K 2 + γ I ( ℓ + u ) 2 f T L f {\displaystyle {\underset {f\in {\mathcal {H}}}{\arg \!\min }}{\frac {1}{\ell }}\sum _{i=1}^{\ell }V(f(x_{i}),y_{i})+\gamma _{A}\left\|f\right\|_{K}^{2}+{\frac {\gamma _{I}}{(\ell +u)^{2}}}\mathbf {f} ^{\mathrm {T} }L\mathbf {f} } As with other kernel methods, H {\displaystyle {\mathcal {H}}} may be an infinite-dimensional space, so if the regularization expression cannot be solved explicitly, it is impossible to search the entire space for a solution. Instead, a representer theorem shows that under certain conditions on the choice of the norm ‖ f ‖ I {\displaystyle \left\|f\right\|_{I}} , the optimal solution f ∗ {\displaystyle f^{}} must be a linear combination of the kernel centered at each of the input points: for some weights α i {\displaystyle \alpha _{i}} , f ∗ ( x ) = ∑ i = 1 ℓ + u α i K ( x i , x ) {\displaystyle f^{}(x)=\sum _{i=1}^{\ell +u}\alpha _{i}K(x_{i},x)} Using this result, it is possible to search for the optimal solution f ∗ {\displaystyle f^{}} by searching the finite-dimensional space defined by the possible choices of α i {\displaystyle \alpha _{i}} . === Functional approach of the Laplacian norm === The idea beyond the graph-Laplacian is to use neighbors to estimate the Laplacian. This method is akin to local averaging methods, that are known to scale poorly in high-dimensional problems. Indeed, the graph Laplacian is known to suffer from the curse of dimensionality. Luckily, it is possible to leverage expected smoothness of the function to estimate thanks to more advanced functional analysis. This method consists of estimating the Laplacian operator using derivatives of the kernel reading ∂ 1 , j K ( x i , x ) {\displaystyle \partial _{1,j}K(x_{i},x)} where ∂ 1 , j {\displaystyle \partial _{1,j}} denotes the partial derivatives according to the j-th coordinate of the first variable. This second approach to the Laplacian norm is to put in relation with meshfree methods, that contrast with the finite difference method in PDE. == Applications == Manifold regularization can extend a variety of algorithms that can be expressed using Tikhonov regularization, by choosing an appropriate loss function V {\displaystyle V} and hypothesis space H {\displaystyle {\mathcal {H}}} . Two commonly used examples are the families of support vector machines and regularized least squares algorithm

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  • Shadowrun

    Shadowrun

    Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f

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  • Theaitre

    Theaitre

    Theaitre (stylized as THEaiTRE) is an interdisciplinary research project investigating to what extent artificial intelligence is able to generate theatre play scripts. The first theatre play produced within the project, AI: When a Robot Writes a Play, premiered online on February 26, 2021. == Goal == Following similar previous projects such as Sunspring, a short sci-fi movie with an automatically generated script, the THEaiTRE project investigates whether current language generation approaches are mature enough to generate a theatre play script that could be successfully performed in front of an audience. The project falls within the area of generative art, famously represented e.g. by the portrait of Edmond de Belamy which was generated by an artificial neural network. In this field, artists are trying to use automated techniques to create "art", questioning the modern definition of art itself. More broadly, the project aims at promoting cooperation rather than competition of humans and artificial intelligence as the more beneficial approach for both. The first theatre play created within the project, titled AI: When a Robot Writes a Play, was presented in February 2021 at the 100th anniversary of the premiere of the R.U.R. theatre play by the Czech author Karel Čapek to celebrate the invention of the word "robot". While R.U.R. was a play written by a human about robots (and humans), THEaiTRE tried to reverse this idea by presenting a play written by a "robot" (artificial intelligence) about humans (and robots). The script of the play was published online, with marked parts of the text which were written manually or manually post-edited. The analysis shows that 90% of the script is automatically generated, with 10% manually written or manually post-edited. The project also plans to produce a second play in 2022, addressing some of the many shortcomings of the approach used to generate the first play, as well as attempting to further minimize the amount of human influence on the script. == Approach == At the core of the project is the GPT-2 language model by OpenAI with various adjustments motivated by the task of generating theatre play scripts, for which the model is not particularly trained. The GPT-2 model is used in the usual way, providing it with a start of a document and prompting it to generate a continuation of the document. Specifically, the input for GPT-2 in this project is typically a short description of the scene setting, followed by a few lines to introduce the characters and start the dialogue. The model then generates 10 continuation lines, and hands control to the user, who can then either ask the model to continue generating, or make various edits before letting the model to generate further, deleting some parts of the script or adding new lines into the script. The adjustments include restricting the generator to only produce lines pertaining to characters appearing in the input prompt, limiting the repetitiveness of the generated text, and employing automatic summarization of the input prompt and the generated text to overcome the limitation of the GPT-2 model which only attends to the last 1,024 subword tokens. The limitations of the model include, among other, a lack of distinctiveness and self-consistency of the characters, an inability to generate the script for the whole play (scripts for individual scenes are generated independently), and errors due to the employment of automated machine translation, as GPT-2 generates English texts but the final play script is being produced in Czech language. The source codes of the project are available under the MIT licence. The project has also published some sample outputs. == Team == The project is a cooperation of the following experts, all based in Prague, Czech Republic: computational linguists from the Faculty of Mathematics and Physics, Charles University theatre experts from the Švanda Theatre and from the Theatre Faculty of the Academy of Performing Arts in Prague hackers from CEE Hacks The project is financially supported by the Technology Agency of the Czech Republic.

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  • IJCAI Award for Research Excellence

    IJCAI Award for Research Excellence

    The IJCAI Award for Research Excellence is a biannual award before given at the IJCAI conference to researcher in artificial intelligence as a recognition of excellence of their career. Beginning in 2016, the conference is held annually and so is the award. == Laureates == The recipients of this award have been: John McCarthy (1985) Allen Newell (1989) Marvin Minsky (1991) Raymond Reiter (1993) Herbert A. Simon (1995) Aravind Joshi (1997) Judea Pearl (1999) Donald Michie (2001) Nils Nilsson (2003) Geoffrey E. Hinton (2005) Alan Bundy (2007) Victor R. Lesser (2009) Robert Kowalski (2011) Hector Levesque (2013) Barbara Grosz (2015) for her pioneering research in Natural Language Processing and in theories and applications of Multiagent Collaboration. Michael I. Jordan (2016) for his groundbreaking and impactful research in both the theory and application of statistical machine learning. Andrew Barto (2017) for his pioneering work in the theory of reinforcement learning. Jitendra Malik (2018) Yoav Shoham (2019) Eugene Freuder (2020) Richard S. Sutton (2021) Stuart J. Russell (2022) Sarit Kraus (2023) for her pioneering work of the study of interactions among self-interested agents, creating the field of automated negotiation, and developing methods for coalition formation and teamwork, both as formal models and real-world implementations. == Winners of also Turing Award == John McCarthy (1971) Allen Newell (1975) Marvin Minsky (1969) Herbert A. Simon (1975) Judea Pearl (2011) Geoffrey Hinton (2018) Andrew Barto (2024) Richard S. Sutton (2024)

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  • Pixel-art scaling algorithms

    Pixel-art scaling algorithms

    Pixel art scaling algorithms are graphical filters that attempt to enhance the appearance of hand-drawn 2D pixel art graphics. These algorithms are a form of automatic image enhancement. Pixel art scaling algorithms employ methods significantly different than the common methods of image rescaling, which have the goal of preserving the appearance of images. As pixel art graphics are commonly used at very low resolutions, they employ careful coloring of individual pixels. This results in graphics that rely on a high amount of stylized visual cues to define complex shapes. Several specialized algorithms have been developed to handle re-scaling of such graphics. These specialized algorithms can improve the appearance of pixel-art graphics, but in doing so they introduce changes. Such changes may be undesirable, especially if the goal is to faithfully reproduce the original appearance. Since a typical application of this technology is improving the appearance of fourth-generation and earlier video games on arcade and console emulators, many pixel art scaling algorithms are designed to run in real-time for sufficiently small input images at 60-frames per second. This places constraints on the type of programming techniques that can be used for this sort of real-time processing. Many work only on specific scale factors. 2× is the most common scale factor, while 3×, 4×, 5×, and 6× exist but are less used. == Algorithms == === SAA5050 'Diagonal Smoothing' === The Mullard SAA5050 Teletext character generator chip (1980) used a primitive pixel scaling algorithm to generate higher-resolution characters on the screen from a lower-resolution representation from its internal ROM. Internally, each character shape was defined on a 5 × 9 pixel grid, which was then interpolated by smoothing diagonals to give a 10 × 18 pixel character, with a characteristically angular shape, surrounded to the top and the left by two pixels of blank space. The algorithm only works on monochrome source data, and assumes the source pixels will be logically true or false depending on whether they are 'on' or 'off'. Pixels 'outside the grid pattern' are assumed to be off. The algorithm works as follows: A B C --\ 1 2 D E F --/ 3 4 1 = B | (A & E & !B & !D) 2 = B | (C & E & !B & !F) 3 = E | (!A & !E & B & D) 4 = E | (!C & !E & B & F) Note that this algorithm, like the Eagle algorithm below, has a flaw: If a pattern of 4 pixels in a hollow diamond shape appears, the hollow will be obliterated by the expansion. The SAA5050's internal character ROM carefully avoids ever using this pattern. The degenerate case: becomes: === EPX/Scale2×/AdvMAME2× === Eric's Pixel Expansion (EPX) is an algorithm developed by Eric Johnston at LucasArts around 1992, when porting the SCUMM engine games from the IBM PC (which ran at 320 × 200 × 256 colors) to the early color Macintosh computers, which ran at more or less double that resolution. The algorithm works as follows, expanding P into 4 new pixels based on P's surroundings: 1=P; 2=P; 3=P; 4=P; IF C==A => 1=A IF A==B => 2=B IF D==C => 3=C IF B==D => 4=D IF of A, B, C, D, three or more are identical: 1=2=3=4=P Later implementations of this same algorithm (as AdvMAME2× and Scale2×, developed around 2001) are slightly more efficient but functionally identical: 1=P; 2=P; 3=P; 4=P; IF C==A AND C!=D AND A!=B => 1=A IF A==B AND A!=C AND B!=D => 2=B IF D==C AND D!=B AND C!=A => 3=C IF B==D AND B!=A AND D!=C => 4=D AdvMAME2× is available in DOSBox via the scaler=advmame2x dosbox.conf option. The AdvMAME4×/Scale4× algorithm is just EPX applied twice to get 4× resolution. ==== Scale3×/AdvMAME3× and ScaleFX ==== The AdvMAME3×/Scale3× algorithm (available in DOSBox via the scaler=advmame3x dosbox.conf option) can be thought of as a generalization of EPX to the 3× case. The corner pixels are calculated identically to EPX. 1=E; 2=E; 3=E; 4=E; 5=E; 6=E; 7=E; 8=E; 9=E; IF D==B AND D!=H AND B!=F => 1=D IF (D==B AND D!=H AND B!=F AND E!=C) OR (B==F AND B!=D AND F!=H AND E!=A) => 2=B IF B==F AND B!=D AND F!=H => 3=F IF (H==D AND H!=F AND D!=B AND E!=A) OR (D==B AND D!=H AND B!=F AND E!=G) => 4=D 5=E IF (B==F AND B!=D AND F!=H AND E!=I) OR (F==H AND F!=B AND H!=D AND E!=C) => 6=F IF H==D AND H!=F AND D!=B => 7=D IF (F==H AND F!=B AND H!=D AND E!=G) OR (H==D AND H!=F AND D!=B AND E!=I) => 8=H IF F==H AND F!=B AND H!=D => 9=F There is also a variant improved over Scale3× called ScaleFX, developed by Sp00kyFox, and a version combined with Reverse-AA called ScaleFX-Hybrid. === Eagle === Eagle works as follows: for every in pixel, we will generate 4 out pixels. First, set all 4 to the color of the pixel we are currently scaling (as nearest-neighbor). Next look at the three pixels above, to the left, and diagonally above left: if all three are the same color as each other, set the top left pixel of our output square to that color in preference to the nearest-neighbor color. Work similarly for all four pixels, and then move to the next one. Assume an input matrix of 3 × 3 pixels where the centermost pixel is the pixel to be scaled, and an output matrix of 2 × 2 pixels (i.e., the scaled pixel) first: |Then . . . --\ CC |S T U --\ 1 2 . C . --/ CC |V C W --/ 3 4 . . . |X Y Z | IF V==S==T => 1=S | IF T==U==W => 2=U | IF V==X==Y => 3=X | IF W==Z==Y => 4=Z Thus if we have a single black pixel on a white background it will vanish. This is a bug in the Eagle algorithm but is solved by other algorithms such as EPX, 2xSaI, and HQ2x. === 2×SaI === 2×SaI, short for 2× Scale and Interpolation engine, was inspired by Eagle. It was designed by Derek Liauw Kie Fa, also known as Kreed, primarily for use in console and computer emulators, and it has remained fairly popular in this niche. Many of the most popular emulators, including ZSNES and VisualBoyAdvance, offer this scaling algorithm as a feature. Several slightly different versions of the scaling algorithm are available, and these are often referred to as Super 2×SaI and Super Eagle. The 2xSaI family works on a 4 × 4 matrix of pixels where the pixel marked A below is scaled: I E F J G A B K --\ W X H C D L --/ Y Z M N O P For 16-bit pixels, they use pixel masks which change based on whether the 16-bit pixel format is 565 or 555. The constants colorMask, lowPixelMask, qColorMask, qLowPixelMask, redBlueMask, and greenMask are 16-bit masks. The lower 8 bits are identical in either pixel format. Two interpolation functions are described: INTERPOLATE(uint32 A, UINT32 B). -- linear midpoint of A and B if (A == B) return A; return ( ((A & colorMask) >> 1) + ((B & colorMask) >> 1) + (A & B & lowPixelMask) ); Q_INTERPOLATE(uint32 A, uint32 B, uint32 C, uint32 D) -- bilinear interpolation; A, B, C, and D's average x = ((A & qColorMask) >> 2) + ((B & qColorMask) >> 2) + ((C & qColorMask) >> 2) + ((D & qColorMask) >> 2); y = (A & qLowPixelMask) + (B & qLowPixelMask) + (C & qLowPixelMask) + (D & qLowPixelMask); y = (y >> 2) & qLowPixelMask; return x + y; The algorithm checks A, B, C, and D for a diagonal match such that A==D and B!=C, or the other way around, or if they are both diagonals or if there is no diagonal match. Within these, it checks for three or four identical pixels. Based on these conditions, the algorithm decides whether to use one of A, B, C, or D, or an interpolation among only these four, for each output pixel. The 2xSaI arbitrary scaler can enlarge any image to any resolution and uses bilinear filtering to interpolate pixels. Since Kreed released the source code under the GNU General Public License, it is freely available to anyone wishing to utilize it in a project released under that license. Developers wishing to use it in a non-GPL project would be required to rewrite the algorithm without using any of Kreed's existing code. It is available in DOSBox via scaler=2xsai option. === hqnx family === Maxim Stepin's hq2x, hq3x, and hq4x are for scale factors of 2:1, 3:1, and 4:1 respectively. Each work by comparing the color value of each pixel to those of its eight immediate neighbors, marking the neighbors as close or distant, and using a pre-generated lookup table to find the proper proportion of input pixels' values for each of the 4, 9 or 16 corresponding output pixels. The hq3x family will perfectly smooth any diagonal line whose slope is ±0.5, ±1, or ±2 and which is not anti-aliased in the input; one with any other slope will alternate between two slopes in the output. It will also smooth very tight curves. Unlike 2xSaI, it anti-aliases the output. hqnx was initially created for the Super NES emulator ZSNES. The author of bsnes has released a space-efficient implementation of hq2x to the public domain. A port to shaders, which has comparable quality to the early versions of xBR, is available. Before the port, a shader called "scalehq" has often been confused for hqx. === xBR family === There are 6 filters in this family: xBR , xBRZ, xBR-Hybrid, Super xBR, xBR+3D and Super xBR+3D. xBR ("scale by rules"), cre

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  • Asian Digital Finance Forum & Awards

    Asian Digital Finance Forum & Awards

    Asian Digital Finance Forum & Awards (also known as Asian Digital Finance Forum and Awards) is a forum and honorary awards platform convened in Colombo, Sri Lanka. It has been hosted in a hybrid format (virtual and in-person), with editions reported in 2022, 2023 and 2025. The event is organised by the Asian FinTech Academy (AFTA) in collaboration with a number of local and international institutions. == Overview == The forum has featured international academic, industry, and policy speakers and has recognised institutions and individuals for contributions related to digital finance and fintech innovation. Media coverage has described participation and recognition at the forum as spanning multiple regions, with institutions and individuals from South Asia, Southeast Asia, East Asia, the Middle East, Europe, and North America featured across different editions. == Awards and recognition == The forum and awards were held in a hybrid format with virtual and in-person proceedings at Hilton Colombo in the 2022 and 2023 editions. The Asian Digital Finance Forum & Awards presents honorary recognitions to institutions and individuals for contributions to digital finance, financial inclusion, and related regulatory, technological, and policy developments. Media coverage has described the recognitions as non-competitive and based on demonstrated leadership and impact rather than open nominations. In 2025, the forum and awards served as an anchor initiative associated with the Asia International Digital Economy & AI in Finance Summit at Port City Colombo, with an emphasis on artificial intelligence in finance, financial inclusion, and governance-related themes. === 2022 === According to reporting by Daily FT, institutions recognised at the 2022 edition included Sri Lanka’s Bank of Ceylon, Commercial Bank of Ceylon, Hatton National Bank, and People’s Bank, alongside international organisations and fintech-sector contributors. === 2023 === Coverage of the 2023 forum described recognitions awarded to India’s International Financial Services Centres Authority (IFSCA) for regulatory innovation, as well as to digital finance and payments platforms including Dialog Genie and SLT-Mobitel mCash. IDEMIA’s Asia–Pacific operations were also recognised for contributions related to biometric and digital identity technologies in financial services. === 2025 === For the 2025 edition, institutional honourees reported in the media included Nium (Singapore), recognised for cross-border payments optimisation, and Paytm (India), recognised for AI-powered financial inclusion initiatives. A Visionary Award for Next-Generation Financial Hub Development was presented to Port City Colombo in recognition of its fintech- and AI-oriented development strategy. Individual honourees reported for 2025 included Sopnendu Mohanty (Singapore), Neil Tan (Hong Kong), Purvi Munot (United Arab Emirates), and Amira Abdelaziz (Egypt), recognised for contributions spanning fintech governance, ecosystem development, inclusive wealth technology, and AI-driven financial policy and regulation. In 2025, media reports described the awards as being subject to an independent validation framework. The process was led by Dr. Sivaguru S. Sritharan, appointed as Global Validation Chair, and involved independent research, analytical review, and benchmarking against international standards, with recognitions characterised as honorary and non-competitive.

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  • Hyperion Cantos

    Hyperion Cantos

    The Hyperion Cantos is a series of science fiction novels by Dan Simmons. The title was originally used for the collection of the first pair of books in the series, Hyperion and The Fall of Hyperion, and later came to refer to the overall storyline, including Endymion, The Rise of Endymion, and a number of short stories. More narrowly, inside the fictional storyline, after the first volume, the Hyperion Cantos is an epic poem written by the character Martin Silenus covering in verse form the events of the first two books. Of the four novels, Hyperion received the Hugo and Locus Awards in 1990; The Fall of Hyperion won the Locus and British Science Fiction Association Awards in 1991; and The Rise of Endymion received the Locus Award in 1998. All four novels were also nominated for various science fiction awards. == Works == === Hyperion (1989) === First published in 1989, Hyperion has the structure of a frame story, similar to Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. The story weaves the interlocking tales of a diverse group of travelers sent on a pilgrimage to the Time Tombs on Hyperion. The travelers have been sent by the Hegemony (the government of the human star systems), the All Thing, and the Church of the Final Atonement, alternately known as the Shrike Church, to make a request of the Shrike. As they progress in their journey, each of the pilgrims tells their tale. === The Fall of Hyperion (1990) === This book concludes the story begun in Hyperion. It abandons the storytelling frame structure of the first novel, and is instead presented primarily as a series of dreams by John Keats. === Endymion (1996) === The story commences 274 years after the events in the previous novel. Few main characters from the first two books are present in the later two. The main character is Raul Endymion, an ex-soldier who receives a death sentence after an unfair trial. He is rescued by Martin Silenus and asked to perform a series of rather extraordinarily difficult tasks. The main task is to rescue and protect the daughter of Brawne Lamia (one of the main characters of Hyperion), Aenea, a messiah coming from the time period just after the first books via time travel. The Catholic Church has become a dominant force in the human universe and views Aenea as a potential threat to their power. The group of Aenea, Endymion, and A. Bettik (an android) evades the Church's forces on several worlds through use of the Consul's spaceship, ending the story on Earth. === The Rise of Endymion (1997) === This final novel in the series finishes the story begun in Endymion, expanding on the themes in Endymion, as Raul and Aenea battle the Church and meet their respective destinies. === Short stories === The series also includes three short stories: "Remembering Siri" (1983, included almost verbatim in Hyperion) "The Death of the Centaur" (1990) "Orphans of the Helix" (1999) == Development == The Hyperion universe originated when Simmons was an elementary school teacher, as an extended tale he told at intervals to his young students; this is recorded in "The Death of the Centaur", and its introduction. It then inspired his short story "Remembering Siri", which eventually became the nucleus around which Hyperion and The Fall of Hyperion formed. After the quartet was published came the short story "Orphans of the Helix". "Orphans" is currently the final work in the Cantos, both chronologically and internally. The original Hyperion Cantos has been described as a novel published in two volumes, published separately at first for reasons of length. In his introduction to "Orphans of the Helix", Simmons elaborates: Some readers may know that I've written four novels set in the "Hyperion Universe"—Hyperion, The Fall of Hyperion, Endymion, and The Rise of Endymion. A perceptive subset of those readers—perhaps the majority—know that this so-called epic actually consists of two long and mutually dependent tales, the two Hyperion stories combined and the two Endymion stories combined, broken into four books because of the realities of publishing. == Influences == Much of the appeal of the series stems from its extensive use of references and allusions from a wide array of thinkers such as Teilhard de Chardin, John Muir, Norbert Wiener, and to the poetry of John Keats, the famous 19th-century English Romantic poet, Norse mythology, and the monk Ummon. A large number of technological elements are acknowledged by Simmons to be inspired by elements of Out of Control: The New Biology of Machines, Social Systems, and the Economic World. The Hyperion series has many echoes of Jack Vance, explicitly acknowledged in one of the later books. The title of the first novel, "Hyperion", is taken from one of Keats's poems, the unfinished epic Hyperion. Similarly, the title of the third novel is from Keats' poem Endymion. Quotes from actual Keats poems and the fictional Cantos of Martin Silenus are interspersed throughout the novels. Simmons goes so far as to have two artificial reincarnations of John Keats ("cybrids": artificial intelligences in human bodies) play a major role in the series. == Setting == Much of the action in the series takes place on the planet Hyperion. It is described as having one-fifth less gravity than Earth standard. Hyperion has a number of peculiar indigenous flora and fauna, notably Tesla trees, which are essentially large electricity-spewing trees. It is also a "labyrinthine" planet, which means that it is home to ancient subterranean labyrinths of unknown purpose. Most importantly, Hyperion is the location of the Time Tombs, large artifacts surrounded by "anti-entropic" fields that allow them to move backward through time. In the fictional universe of the Hyperion Cantos, the Hegemony of Man encompasses over 200 planets. Faster than light communications technology, Fatlines, are said to operate through tachyon bursts. However, in later books it is revealed that they operate through the Void Which Binds. The Farcaster network was given to humanity by the TechnoCore and again it was another use of the Void Which Binds that allowed this instantaneous travel between worlds. The Hawking Drive was developed by human scientists, allowing the faster than light travel which led to the Hegira (from the Arabic word هجرة Hijra, meaning 'migration'). The Gideon drive, a Core-provided starship drive, allows for near-instantaneous travel between any two points in human-occupied space. The drive's use kills any human on board a Gideon-propelled starship; thus, the technology is only of use with remote probes or when used in conjunction with the Pax's resurrection technology. The resurrection creche can regenerate someone carrying a cruciform from their remains. Treeships are living trees that are propelled by ergs (spider-like solid-state alien being that emits force fields) through space. === The Shrike === The region of the Tombs is also the home of the Shrike, a menacing half-mechanical, half-organic four-armed creature that features prominently in the series. It appears in all four Hyperion Cantos books and is an enigma in the initial two; its purpose is not revealed until the second book, but is still left nebulous. The Shrike appears to act both autonomously and as a servant of some unknown force or entity. In the first two Hyperion books, it exists solely in the area around the Time Tombs on the planet Hyperion. Its portrayal is changed significantly in the last two books, Endymion and The Rise of Endymion. In these novels, the Shrike appears effectively unfettered and protects the heroine Aenea against assassins of the opposing TechnoCore. Surrounded in mystery, the object of fear, hatred, and even worship by members of the Church of the Final Atonement (the Shrike Cult), the Shrike's origins are described as uncertain. It is portrayed as composed of razorwire, thorns, blades, and cutting edges, having fingers like scalpels and long, curved toe blades. It has the ability to control the flow of time, and may thus appear to travel infinitely fast. The Shrike may kill victims in a flash or it may transport them to an eternity of impalement upon an enormous artificial 'Tree of Thorns,' or 'Tree of Pain' in Hyperion's distant future. The Tree of Thorns is described as an unimaginably large, metallic tree, alive with the agonized writhing of countless human victims of all ages and races. It is also hinted in the second book that the Tree of Thorns is actually a simulation generated by a mystical interface which connects to human brains via a strong and pulsing (as if it were alive) cord. The name Shrike seems a reference to birds of the shrike family, a family of birds that impales their victims on thorns, spines, or twigs. === Worlds and Systems === In the fictional universe of the Hyperion Cantos, the Hegemony of Man encompasses over 200 planets. The following planets appear or are specifically mentioned in the Hyperion Cantos. Planets of

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  • The Old Axolotl

    The Old Axolotl

    The Old Axolotl (Polish: Starość aksolotla) is a 2015 digital-only novel by Polish science-fiction author Jacek Dukaj. The novel was released in Polish on March 10, 2015, and shortly afterward, on March 24 that year, in English (translated by Stanley Bill). It has been described as "an experiment in reading (and creating) the electronic literature of the future". It is Dukaj's first novel to be published in English, though several of his short stories (The Golden Galley, 1996, The Iron General, 2010, The Apocrypha of Lem, 2011) have been translated prior to this. The novel has inspired two Netflix original series: the 2020 Belgian Into the Night, and its 2022 Turkish language spin-off Yakamoz S-245. == Plot == The novel presents a post-apocalyptic, cyberpunk vision of Earth where biological life has been wiped out, inhabited by robots and mechs, many of which are humans whose consciousness has been digitized in the wake of an extinction event. == Significance and analysis == The novel is an example of electronic literature, available only in digital formats, and has no traditional paper version. It was designed from the beginning not only to incorporate more traditional elements such as illustrations, but also hypertext, and 3D-printable models of main robotic characters designed by Alex Jaeger, the art director of Transformers films. The novel composition is layered, with the narrative layer, an encyclopedic/hyperlinked footnote layer, and a multimedia layer, including illustrations and a short promotional video by the Oscar-nominated Platige Image studio. One of the novel's central questions is: "What does it mean to be human?" Other subjects include post humanism and other "staples of cyberpunk and related genres, such as the artificial intelligence". The novel is representative of Dukaj's prose, posing philosophical questions about the future of man and technology. The author explained that: "stories such as The Old Axolotl that model an ‘escape from the body’ are born out of a sense of progress as a process of ‘de-animalising’ human beings through science. This has its origin in the pre-Enlightenment intuition of ‘liberation from nature’. For one of the last shackles of nature is corporeality itself, the limitations of our physicality." The other major element of the novel is Dukaj's attempts to introduce the reader to the new style of electronic literature. The novel was nominated for the 2016 Janusz A. Zajdel Award.

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  • Avizo (software)

    Avizo (software)

    Avizo (pronounce: 'a-VEE-zo') is a general-purpose commercial software application for scientific and industrial data visualization and analysis. Avizo is developed by Thermo Fisher Scientific and was originally designed and developed by the Visualization and Data Analysis Group at Zuse Institute Berlin (ZIB) under the name Amira. Avizo was commercially released in November 2007. For the history of its development, see the Wikipedia article about Amira. == Overview == Avizo is a software application which enables users to perform interactive visualization and computation on 3D data sets. The Avizo interface is modelled on the visual programming. Users manipulate data and module components, organized in an interactive graph representation (called Pool), or in a Tree view. Data and modules can be interactively connected together, and controlled with several parameters, creating a visual processing network whose output is displayed in a 3D viewer. With this interface, complex data can be interactively explored and analyzed by applying a controlled sequence of computation and display processes resulting in a meaningful visual representation and associated derived data. == Application areas == Avizo has been designed to support different types of applications and workflows from 2D and 3D image data processing to simulations. It is a versatile and customizable visualization tool used in many fields: Scientific visualization Materials Research Tomography, Microscopy, etc. Nondestructive testing, Industrial Inspection, and Visual Inspection Computer-aided Engineering and simulation data post-processing Porous medium analysis Civil Engineering Seismic Exploration, Reservoir Engineering, Microseismic Monitoring, Borehole Imaging Geology, Digital Rock Physics (DRP), Earth Sciences Archaeology Food technology and agricultural science Physics, Chemistry Climatology, Oceanography, Environmental Studies Astrophysics == Features == Data import: 2D and 3D image stack and volume data: from microscopes (electron, optical), X-ray tomography (CT, micro-/nano-CT, synchrotron), neutron tomography and other acquisition devices (MRI, radiography, GPR) Geometric models (such as point sets, line sets, surfaces, grids) Numerical simulation data (such as Computational fluid dynamics or Finite element analysis data) Molecular data Time series and animations Seismic data Well logs 4D Multivariate Climate Models 2D/3D data visualization: Volume rendering Digital Volume Correlation Visualization of sections, through various slicing and clipping methods Isosurface rendering Polygonal meshes Scalar fields, Vector fields, Tensor representations, Flow visualization (Illuminated Streamlines, Stream Ribbons) Image processing: 2D/3D Alignment of image slices, Image registration Image filtering Mathematical Morphology (erode, dilate, open, close, tophat) Watershed Transform, Distance Transform Image segmentation 3D models reconstruction: Polygonal surface generation from segmented objects Generation of tetrahedral grids Surface reconstruction from point clouds Skeletonization (reconstruction of dendritic, porous or fracture network) Surface model simplification Quantification and analysis: Measurements and statistics Analysis spreadsheet and charting Material properties computation, based on 3D images: Absolute permeability Thermal conductivity Molecular diffusivity Electrical resistivity/formation factor 3D image-based meshing for CFD and FEA: From 3D imaging modalities (CT, micro-CT, MRI, etc.) Surface and volume meshes generation Export to FEA and CFD solvers for simulation Post-processing for simulation analysis Presentation, automation: MovieMaker, Multiscreen, Video wall, collaboration, and VR support TCL Scripting, C++ extension API Avizo is based on Open Inventor 3D graphics toolkits (FEI Visualization Sciences Group).

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  • Felix, Net i Nika

    Felix, Net i Nika

    Felix, Net i Nika ("Felix, Net and Nika") is a series of Polish language science fiction books for teenagers, written by Rafał Kosik. It tells the adventures of three friends - Felix Polon, Net Bielecki and Nika Mickiewicz - who attend fictional Professor Kuszmiński Middle School in Warsaw. As of 2024, eighteen books have been published. == Books == There are currently 18 books in the series: Felix, Net and Nika and the Gang of Invisible People - November 2004. Felix, Net and Nika and the Theoretically Possible Catastrophe - November 2005 Felix, Net and Nika and the Palace of Dreams - November 2006 Felix, Net and Nika and the Trap of Immortality - November 2007 Felix, Net and Nika and the Orbital Conspiracy - November 2008 Felix, Net and Nika and the Orbital Conspiracy 2: Small Army - May 2009 Felix, Net and Nika and the Third Cousin - November 2009 Felix, Net and Nika and the Rebellion of Machines - March 2011 Felix, Net and Nika and the World Zero - November 2011 Felix, Net and Nika and the World Zero 2. Alternauts - November 2012 Felix, Net and Nika and the Extracurricular Stories - April 2013 Felix, Net and Nika and the Secret of Czerwona Hańcza - November 2013 Felix, Net and Nika and Curse of McKillian's House - November 2014 Felix, Net and Nika and (un)Safe Growing up - November 2015 Felix, Net and Nika and The End of The World as We Know It - November 2018 Felix, Net and Nika and No Chance - November 2022 Felix, Net and Nika and No Chance 2: other tomorrrow - 2023 Felix, Net and Nika and Fantology - June 2024 == Film == A feature motion picture, Felix, Net i Nika oraz Teoretycznie Możliwa Katastrofa (Felix, Net and Nika and the Theoretically Possible Catastrophe) was released in Poland on September 28, 2012. == Main characters == Felix Polon - a foresighted, fair-haired boy with dark brown eyes. He inherited the talent of constructing various things, especially robots, from his father- it saved his friends many times. He can make anything from nothing, always finds a way out of a situation; almost always has a plan. Together with his parents Marlene and Peter, grandmother Lucy, his dog Caban (a Black Russian Terrier) and Golem Golem a robot he built, Felix lives on Serdeczna Street in a small family house. Net Bielecki is quite tall & slim, has blue eyes and a high IQ level. "Net" is his nickname; his true name is unknown. He is the most trendy and 'awesome' in his entire class. He is a human calculator and is excellent in mathematics. He hates dictations and spelling because he is dyslexic. He is also quite lazy, absent-minded and sometimes hysterical, or panicking. His dark blond hair looks like a heap of hay after a grenade explosion. He is best in ICT and writes many of his own programs. His love interest is Nika Mickiewicz. Together with his parents Lila and Mark, and their newborn twins nicknamed Pompek and Prumcia he lives on the top floor of a Penthouse apartment. Nika Mickiewicz is a girl with a character. She is very brave and mature. She likes reading books. She has curly, red hair, green eyes and a few freckles. She is not very rich; she wears second-hand clothes and her only pair of black Dr. Martens shoes. She lives in a tiny apartment. She is an orphan, but hides that fact from people for almost 3 years. However, Felix and Net, her best and possibly only friends, find out about it. She also has abnormal abilities. She can move distant objects using her powers, ski uphill and knows some things by intuition. In other words, she is telekinetic. Manfred is a friendly AI program started and never finished by Net's father, and mastered and programmed further by Net himself. He likes going on adventures and solving mysteries with the trio much more than his actual job, which is controlling the traffic lights. He helped out the three friends many times and is their reliable and faithful friend. Morten is also an AI program, but he is the antagonist of the trio. He appears in all 6 books of Felix Net and Nika. In the first book, the trio thinks they finished him off for good, but as we find out later, he comes back in the third book. In the fifth/sixth book, he was the mastermind of the Orbital Conspiracy. Also, Morten's logo, appears in all 6 books and it is still a mystery what he has to do with each event.

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  • Construction of t-norms

    Construction of t-norms

    In mathematics, t-norms are a special kind of binary operations on the real unit interval [0, 1]. Various constructions of t-norms, either by explicit definition or by transformation from previously known functions, provide a plenitude of examples and classes of t-norms. This is important, e.g., for finding counter-examples or supplying t-norms with particular properties for use in engineering applications of fuzzy logic. The main ways of construction of t-norms include using generators, defining parametric classes of t-norms, rotations, or ordinal sums of t-norms. Relevant background can be found in the article on t-norms. == Generators of t-norms == The method of constructing t-norms by generators consists in using a unary function (generator) to transform some known binary function (most often, addition or multiplication) into a t-norm. In order to allow using non-bijective generators, which do not have the inverse function, the following notion of pseudo-inverse function is employed: Let f: [a, b] → [c, d] be a monotone function between two closed subintervals of extended real line. The pseudo-inverse function to f is the function f (−1): [c, d] → [a, b] defined as f ( − 1 ) ( y ) = { sup { x ∈ [ a , b ] ∣ f ( x ) < y } for f non-decreasing sup { x ∈ [ a , b ] ∣ f ( x ) > y } for f non-increasing. {\displaystyle f^{(-1)}(y)={\begin{cases}\sup\{x\in [a,b]\mid f(x)y\}&{\text{for }}f{\text{ non-increasing.}}\end{cases}}} === Additive generators === The construction of t-norms by additive generators is based on the following theorem: Let f: [0, 1] → [0, +∞] be a strictly decreasing function such that f(1) = 0 and f(x) + f(y) is in the range of f or in [f(0+), +∞] for all x, y in [0, 1]. Then the function T: [0, 1]2 → [0, 1] defined as T(x, y) = f (-1)(f(x) + f(y)) is a t-norm. Alternatively, one may avoid using the notion of pseudo-inverse function by having T ( x , y ) = f − 1 ( min ( f ( 0 + ) , f ( x ) + f ( y ) ) ) {\displaystyle T(x,y)=f^{-1}\left(\min \left(f(0^{+}),f(x)+f(y)\right)\right)} . The corresponding residuum can then be expressed as ( x ⇒ y ) = f − 1 ( max ( 0 , f ( y ) − f ( x ) ) ) {\displaystyle (x\Rightarrow y)=f^{-1}\left(\max \left(0,f(y)-f(x)\right)\right)} . And the biresiduum as ( x ⇔ y ) = f − 1 ( | f ( x ) − f ( y ) | ) {\displaystyle (x\Leftrightarrow y)=f^{-1}\left(\left|f(x)-f(y)\right|\right)} . If a t-norm T results from the latter construction by a function f which is right-continuous in 0, then f is called an additive generator of T. Examples: The function f(x) = 1 – x for x in [0, 1] is an additive generator of the Łukasiewicz t-norm. The function f defined as f(x) = –log(x) if 0 < x ≤ 1 and f(0) = +∞ is an additive generator of the product t-norm. The function f defined as f(x) = 2 – x if 0 ≤ x < 1 and f(1) = 0 is an additive generator of the drastic t-norm. Basic properties of additive generators are summarized by the following theorem: Let f: [0, 1] → [0, +∞] be an additive generator of a t-norm T. Then: T is an Archimedean t-norm. T is continuous if and only if f is continuous. T is strictly monotone if and only if f(0) = +∞. Each element of (0, 1) is a nilpotent element of T if and only if f(0) < +∞. The multiple of f by a positive constant is also an additive generator of T. T has no non-trivial idempotents. (Consequently, e.g., the minimum t-norm has no additive generator.) === Multiplicative generators === The isomorphism between addition on [0, +∞] and multiplication on [0, 1] by the logarithm and the exponential function allow two-way transformations between additive and multiplicative generators of a t-norm. If f is an additive generator of a t-norm T, then the function h: [0, 1] → [0, 1] defined as h(x) = e−f (x) is a multiplicative generator of T, that is, a function h such that h is strictly increasing h(1) = 1 h(x) · h(y) is in the range of h or equal to 0 or h(0+) for all x, y in [0, 1] h is right-continuous in 0 T(x, y) = h (−1)(h(x) · h(y)). Vice versa, if h is a multiplicative generator of T, then f: [0, 1] → [0, +∞] defined by f(x) = −log(h(x)) is an additive generator of T. == Parametric classes of t-norms == Many families of related t-norms can be defined by an explicit formula depending on a parameter p. This section lists the best known parameterized families of t-norms. The following definitions will be used in the list: A family of t-norms Tp parameterized by p is increasing if Tp(x, y) ≤ Tq(x, y) for all x, y in [0, 1] whenever p ≤ q (similarly for decreasing and strictly increasing or decreasing). A family of t-norms Tp is continuous with respect to the parameter p if lim p → p 0 T p = T p 0 {\displaystyle \lim _{p\to p_{0}}T_{p}=T_{p_{0}}} for all values p0 of the parameter. === Schweizer–Sklar t-norms === The family of Schweizer–Sklar t-norms, introduced by Berthold Schweizer and Abe Sklar in the early 1960s, is given by the parametric definition T p S S ( x , y ) = { T min ( x , y ) if p = − ∞ ( x p + y p − 1 ) 1 / p if − ∞ < p < 0 T p r o d ( x , y ) if p = 0 ( max ( 0 , x p + y p − 1 ) ) 1 / p if 0 < p < + ∞ T D ( x , y ) if p = + ∞ . {\displaystyle T_{p}^{\mathrm {SS} }(x,y)={\begin{cases}T_{\min }(x,y)&{\text{if }}p=-\infty \\(x^{p}+y^{p}-1)^{1/p}&{\text{if }}-\infty −∞ Continuous if and only if p < +∞ Strict if and only if −∞ < p ≤ 0 (for p = −1 it is the Hamacher product) Nilpotent if and only if 0 < p < +∞ (for p = 1 it is the Łukasiewicz t-norm). The family is strictly decreasing for p ≥ 0 and continuous with respect to p in [−∞, +∞]. An additive generator for T p S S {\displaystyle T_{p}^{\mathrm {SS} }} for −∞ < p < +∞ is f p S S ( x ) = { − log ⁡ x if p = 0 1 − x p p otherwise. {\displaystyle f_{p}^{\mathrm {SS} }(x)={\begin{cases}-\log x&{\text{if }}p=0\\{\frac {1-x^{p}}{p}}&{\text{otherwise.}}\end{cases}}} === Hamacher t-norms === The family of Hamacher t-norms, introduced by Horst Hamacher in the late 1970s, is given by the following parametric definition for 0 ≤ p ≤ +∞: T p H ( x , y ) = { T D ( x , y ) if p = + ∞ 0 if p = x = y = 0 x y p + ( 1 − p ) ( x + y − x y ) otherwise. {\displaystyle T_{p}^{\mathrm {H} }(x,y)={\begin{cases}T_{\mathrm {D} }(x,y)&{\text{if }}p=+\infty \\0&{\text{if }}p=x=y=0\\{\frac {xy}{p+(1-p)(x+y-xy)}}&{\text{otherwise.}}\end{cases}}} The t-norm T 0 H {\displaystyle T_{0}^{\mathrm {H} }} is called the Hamacher product. Hamacher t-norms are the only t-norms which are rational functions. The Hamacher t-norm T p H {\displaystyle T_{p}^{\mathrm {H} }} is strict if and only if p < +∞ (for p = 1 it is the product t-norm). The family is strictly decreasing and continuous with respect to p. An additive generator of T p H {\displaystyle T_{p}^{\mathrm {H} }} for p < +∞ is f p H ( x ) = { 1 − x x if p = 0 log ⁡ p + ( 1 − p ) x x otherwise. {\displaystyle f_{p}^{\mathrm {H} }(x)={\begin{cases}{\frac {1-x}{x}}&{\text{if }}p=0\\\log {\frac {p+(1-p)x}{x}}&{\text{otherwise.}}\end{cases}}} === Frank t-norms === The family of Frank t-norms, introduced by M.J. Frank in the late 1970s, is given by the parametric definition for 0 ≤ p ≤ +∞ as follows: T p F ( x , y ) = { T m i n ( x , y ) if p = 0 T p r o d ( x , y ) if p = 1 T L u k ( x , y ) if p = + ∞ log p ⁡ ( 1 + ( p x − 1 ) ( p y − 1 ) p − 1 ) otherwise. {\displaystyle T_{p}^{\mathrm {F} }(x,y)={\begin{cases}T_{\mathrm {min} }(x,y)&{\text{if }}p=0\\T_{\mathrm {prod} }(x,y)&{\text{if }}p=1\\T_{\mathrm {Luk} }(x,y)&{\text{if }}p=+\infty \\\log _{p}\left(1+{\frac {(p^{x}-1)(p^{y}-1)}{p-1}}\right)&{\text{otherwise.}}\end{cases}}} The Frank t-norm T p F {\displaystyle T_{p}^{\mathrm {F} }} is strict if p < +∞. The family is strictly decreasing and continuous with respect to p. An additive generator for T p F {\displaystyle T_{p}^{\mathrm {F} }} is f p F ( x ) = { − log ⁡ x if p = 1 1 − x if p = + ∞ log ⁡ p − 1 p x − 1 otherwise. {\displaystyle f_{p}^{\mathrm {F} }(x)={\begin{cases}-\log x&{\text{if }}p=1\\1-x&{\text{if }}p=+\infty \\\log {\frac {p-1}{p^{x}-1}}&{\text{otherwise.}}\end{cases}}} === Yager t-norms === The family of Yager t-norms, introduced in the early 1980s by Ronald R. Yager, is given for 0 ≤ p ≤ +∞ by T p Y ( x , y ) = { T D ( x , y ) if p = 0 max ( 0 , 1 − ( ( 1 − x ) p + ( 1 − y ) p ) 1 / p ) if 0 < p < + ∞ T m i n ( x , y ) if p = + ∞ {\displaystyle T_{p}^{\mathrm {Y} }(x,y)={\begin{cases}T_{\mathrm {D} }(x,y)&{\text{if }}p=0\\\max \left(0,1-((1-x)^{p}+(1-y)^{p})^{1/p}\right)&{\text{if }}0 Read more →

  • Death of Elaine Herzberg

    Death of Elaine Herzberg

    The death of Elaine Herzberg (August 2, 1968 – March 18, 2018) was the first recorded case of a pedestrian fatality involving a self-driving car, after a collision that occurred late in the evening of March 18, 2018. Herzberg was pushing a bicycle across a four-lane road in Tempe, Arizona, United States, when she was struck by an Uber test vehicle, which was operating in self-drive mode with a human safety backup driver sitting in the driving seat. Herzberg was taken to the local hospital where she died of her injuries. Following the fatal incident, the National Transportation Safety Board (NTSB) issued a series of recommendations and sharply criticized Uber. The company suspended testing of self-driving vehicles in Arizona, where such testing had been approved since August 2016. Uber chose not to renew its permit for testing self-driving vehicles in California when it expired at the end of March 2018. Uber resumed testing in December 2018, starting in Pittsburgh, Pennsylvania. In March 2019, Arizona prosecutors ruled that Uber was not criminally responsible for the crash. The back-up driver of the vehicle was charged with negligent homicide, pled guilty to endangerment, and was sentenced to three years' probation. While Herzberg was the first pedestrian killed by a self-driving car, driver Gao Yaning died in a Tesla semi-autonomous car two years earlier. A reporter for The Washington Post compared Herzberg's fate with that of Bridget Driscoll who, in the United Kingdom in 1896, was the first pedestrian to be killed by an automobile. The Arizona incident has magnified the importance of collision avoidance systems for self-driving vehicles. == Collision summary == Herzberg was crossing Mill Avenue (North) from west to east, approximately 360 feet (110 m) south of the intersection with Curry Road, outside the designated pedestrian crosswalk, close to the Red Mountain Freeway. She was pushing a bicycle laden with shopping bags, and had crossed at least two lanes of traffic when she was struck at approximately 9:58 pm MST (UTC−07:00) by a prototype Uber self-driving car based on a Volvo XC90, which was traveling north on Mill. The vehicle had been operating in autonomous mode since 9:39 pm, nineteen minutes before it struck and killed Herzberg. The car's human safety backup driver, Rafaela Vasquez, did not intervene in time to prevent the collision. Vehicle telemetry obtained after the crash showed that the human operator responded by moving the steering wheel less than a second before impact, and she engaged the brakes less than a second after impact. == Cause investigation == The county district attorney's office recused itself from the investigation, due to a prior joint partnership with Uber promoting their services as an alternative to driving under the influence of alcohol. Accounts differ on the speed limit at the place of the incident. According to Tempe police the car was traveling in a 35 mph (56 km/h) zone, but this is contradicted by a posted speed limit of 45 mph (72 km/h). The National Transportation Safety Board (NTSB) sent a team of federal investigators to gather data from vehicle instruments, and to examine vehicle condition along with the actions taken by the safety driver. Their preliminary findings were substantiated by multiple event data recorders and proved the vehicle was traveling 43 miles per hour (69 km/h) when Herzberg was first detected 6 seconds (378 feet (115 m)) before impact; during 4.7 seconds the self driving system did not infer that emergency braking was needed. A vehicle traveling 43 mph (69 km/h) can generally stop within 89 feet (27 m) once the brakes are applied. The machine needed to be 1.3 seconds (82 feet (25 m)) away prior to discerning that emergency braking was required, whereas at least that much distance was required to stop. The system failed to behave properly. A total stopping distance of 76 feet itself would imply a safe speed under 25 mph (40 km/h). Human intervention was still legally required. Computer perception–reaction time would have been a speed limiting factor had the technology been superior to humans in ambiguous situations; however, the nascent computerized braking technology was disabled the day of the crash, and the machine's apparent 4.7-second perception–reaction (alarm) time allowed the car to travel 250 feet (76 m). Video released by the police on March 21 showed the safety driver was not watching the road moments before the vehicle struck Herzberg. === Environment === In widely disseminated remarks that would shape the narrative about the crash, which were later seen as prejudicial and subsequently contradicted by her own department, Tempe Police Chief Sylvia Moir was quoted stating that the collision was "unavoidable" based on the initial police investigation, which included a review of the video captured by an onboard camera. Moir faulted Herzberg for crossing the road in an unsafe manner: "It is dangerous to cross roadways in the evening hour when well-illuminated, managed crosswalks are available." According to Uber, safety drivers were trained to keep their hands very close to the wheel all the time while driving the vehicle so they were ready to quickly take control if necessary. The driver said it was like a flash, the person walked out in front of them. His [sic] first alert to the collision was the sound of the collision. [...] it's very clear it would have been difficult to avoid this collision in any kind of mode (autonomous or human-driven) based on how she came from the shadows right into the roadway. Tempe police released video on March 21, 2018, showing footage recorded by two onboard cameras: one forward-looking, and one capturing the safety driver's actions. The forward-facing video shows that the self-driving car was traveling in the far right lane when it struck Herzberg. The driver-facing video shows the safety driver was looking down prior to the collision. The Uber operator is responsible for intervening and taking manual control when necessary as well as for monitoring diagnostic messages, which are displayed on a screen in the center console. In an interview conducted after the crash with NTSB, the driver stated she was monitoring the center stack at the time of the collision. After the Uber video was released, journalist Carolyn Said noted the police explanation of Herzberg's path meant she had already crossed two lanes of traffic before she was struck by the autonomous vehicle. The Marquee Theatre and Tempe Town Lake are west of Mill Avenue, and pedestrians commonly cross mid-street without detouring north to the crosswalk at Curry. According to reporting by the Phoenix New Times, Mill Avenue contains what appears to be a brick-paved path in the median between the northbound and southbound lanes; however, posted signs prohibit pedestrians from crossing in that location. When the second of the Mill Avenue bridges over the town lake was added in 1994 for northbound traffic, the X-shaped crossover in the median was installed to accommodate the potential closing of one of the two road bridges. The purpose of this brick-paved structure is purely to divert cars from one side to the other if a bridge is closed to traffic, and although it may look like a crosswalk for pedestrians, it is in fact a temporary roadway with vertical curbs and warning signs. === Software issues === Michael Ramsey, a self-driving car expert with Gartner, characterized the video as showing "a complete failure of the system to recognize an obviously seen person who is visible for quite some distance in the frame. Uber has some serious explaining to do about why this person wasn't seen and why the system didn't engage." The NTSB preliminary report, however, noted that the software did order the car to brake 1.3 seconds before the collision. A video shot from the vehicle's dashboard camera showed the safety driver looking down, away from the road. It also appeared that the driver's hands were not hovering above the steering wheel, which is what drivers are instructed to do so they can quickly retake control of the car. Uber had moved from two employees in every car to one. The paired employees had been splitting duties: one ready to take over if the autonomous system failed, and another to keep an eye on what the computers were detecting. The second person was responsible for keeping track of system performance as well as labeling data on a laptop computer. Mr. Kallman, the Uber spokesman, said the second person was in the car for purely data related tasks, not safety. When Uber moved to a single operator, some employees expressed safety concerns to managers, according to the two people familiar with Uber's operations. They were worried that going solo would make it harder to remain alert during hours of monotonous driving. The recorded telemetry showed the system had detected Herzberg six seconds before the crash, and classified her first as an unknown object, then as a

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  • BeHafizh

    BeHafizh

    BeHafizh is a mobile application to assist in the effort to memorize Qur'anic verses. The software runs on the Android operating system. This application was made by a team from Gadjah Mada University (UGM) consisting of Farid Amin Ridwanto, Rian Adam Rajagede and Alfian Try Putranto in order to participate in the National Student Musabaqoh Tilawatil Quran (MTQ) held at University of Indonesia (UI) on 1- August 8, 2015. This application then won a gold medal in the branch of Computer Application Design in the competition. == Features == === Audio Player === Audio player, paragraph can be played repeatedly, with pause, and can be done on a certain range of Quranic verses. === Memorization Test === Memorization testing continues users to improve their memorization. Memorization Recorders improves user's ability to recite Quran. === Colour indicators === === Achievements === === Reminders ===

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  • Sunspring

    Sunspring

    Sunspring is a 2016 experimental science fiction short film entirely written by an artificial intelligence bot using neural networks. It was conceived by BAFTA-nominated filmmaker Oscar Sharp and NYU AI researcher Ross Goodwin and produced by film production company, End Cue along with Allison Friedman and Andrew Swett. It stars Thomas Middleditch, Elisabeth Grey, and Humphrey Ker as three people, namely H, H2, and C, living in a future world and eventually connecting with each other through a love triangle. The script of the film was authored by a recurrent neural network called long short-term memory (LSTM) by an AI bot named Benjamin. Originally made for the Sci-Fi-London film festival's 48hr Challenge, it was released online by technology news website Ars Technica on 9 June 2016. == Premise == Sunspring narrates the story of three people - H (Middleditch), H2 (Grey), and C (Ker) - set in a futuristic world and entangled with murder and love. == Cast == Thomas Middleditch as H Elisabeth Grey as H2 Humphrey Ker as C == Production == Oscar Sharp originally created the film for the 48hr Film Challenge contest of Sci-Fi-London, a film festival which focuses on science fiction. For the challenge, contestants are given a set of prompts (mostly props and lines) that have to appear in a movie they make over the next two days. It eventually contested in the festival and was nominated among the final top ten films Sharp collaborated with his longtime associate Ross Goodwin, an AI researcher in New York University to create the AI bot, which was initially called Jetson. The bot, which later came to call itself Benjamin, wrote the screenplay including stage directions and dialog. The garbled script was then interpreted by Sharp who directed the actors to construe the plot points themselves and enact the play. According to Ars Technica, the final plot turned out to be a tale of romance and murder, set in a dark future world. === Benjamin, the automatic screenwriter === Called the world's first automatic screenwriter, Benjamin is a self-improving LSTM RNN machine intelligence trained on human screenplays conceived by Goodwin and Sharp. It was trained to write the screenplay by feeding it with a corpus of dozens of sci-fi screenplays found online—mostly movies from the 1980s and 90s. == Music == The film contains a song from Brooklyn-based electro-acoustic duo Tiger and Man, with lyrics written by Benjamin using a database of 30,000 folk songs. As well as a score written by composer Andrew Orkin. == Reception == CNet called it "a beautiful, bizarre sci-fi novelty." Critic Amanda Kooser said, "...probably won't start a rush for replacing human screenwriters with machines. Some day, neural networks may get better at imitating the art of coherent storytelling, but we're not there yet. That doesn't mean "Sunspring" isn't entertaining or worthy of viewing. It is. It's a thought experiment come to life, a novelty." As of April 2019, it has surpassed 1 million views on YouTube.

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  • Combs method

    Combs method

    The Combs method is a rule base reduction method of writing fuzzy logic rules described by William E. Combs in 1997. It is designed to prevent combinatorial explosion in fuzzy logic rules. The Combs method takes advantage of the logical equality ( ( p ∧ q ) ⇒ r ) ⟺ ( ( p ⇒ r ) ∨ ( q ⇒ r ) ) {\displaystyle ((p\land q)\Rightarrow r)\iff ((p\Rightarrow r)\lor (q\Rightarrow r))} . == Equality proof == The simplest proof of given equality involves usage of truth tables: == Combinatorial explosion == Suppose we have a fuzzy system that considers N variables at a time, each of which can fit into at least one of S sets. The number of rules necessary to cover all the cases in a traditional fuzzy system is S N {\displaystyle S^{N}} , whereas the Combs method would need only S × N {\displaystyle S\times N} rules. For example, if we have five sets and five variables to consider to produce one output, covering all the cases would require 3125 rules in a traditional system, while the Combs method would require only 25 rules, taming the combinatorial explosion that occurs when more inputs or more sets are added to the system. This article will focus on the Combs method itself. To learn more about the way rules are traditionally formed, see fuzzy logic and fuzzy associative matrix. == Example == Suppose we were designing an artificial personality system that determined how friendly the personality is supposed to be towards a person in a strategic video game. The personality would consider its own fear, trust, and love in the other person. A set of rules in the Combs system might look like this: The table translates to: [IF Fear IS Unafraid THEN Friendship IS Enemies OR IF Fear IS ModerateFear THEN Friendship IS Neutral OR IF Fear IS Afraid THEN Friendship IS GoodFriends ] OR [IF Trust IS Distrusting THEN Friendship IS Enemies OR IF Trust IS ModerateTrust THEN Friendship IS Neutral OR IF Trust IS Trusting THEN Friendship IS GoodFriends] OR [IF Love IS Unloving THEN Friendship IS Enemies OR IF Love IS ModerateLove THEN Friendship IS Neutral OR IF Love IS Loving THEN Friendship IS GoodFriends] In this case, because the table follows a straightforward pattern in the output, it could be rewritten as: Each column of the table maps to the output provided in the last row. To obtain the output of the system, we just average the outputs of each rule for that output. For example, to calculate how much the computer is Enemies with the player, we take the average of how much the computer is Unafraid, Distrusting, and Unloving of the player. When all three averages are obtained, the result can then be defuzzified by any of the traditional means.

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