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  • Bigram

    Bigram

    A bigram or digram is a sequence of two adjacent elements from a string of tokens, which are typically letters, syllables, or words. A bigram is an n-gram for n=2. The frequency distribution of every bigram in a string is commonly used for simple statistical analysis of text in many applications, including in computational linguistics, cryptography, and speech recognition. Gappy bigrams or skipping bigrams are word pairs which allow gaps (perhaps avoiding connecting words, or allowing some simulation of dependencies, as in a dependency grammar). == Applications == Bigrams, along with other n-grams, are used in most successful language models for speech recognition. Bigram frequency attacks can be used in cryptography to solve cryptograms. See frequency analysis. Bigram frequency is one approach to statistical language identification. Some activities in logology or recreational linguistics involve bigrams. These include attempts to find English words beginning with every possible bigram, or words containing a string of repeated bigrams, such as logogogue. == Bigram frequency in the English language == The frequency of the most common letter bigrams in a large English corpus is: th 3.56% of 1.17% io 0.83% he 3.07% ed 1.17% le 0.83% in 2.43% is 1.13% ve 0.83% er 2.05% it 1.12% co 0.79% an 1.99% al 1.09% me 0.79% re 1.85% ar 1.07% de 0.76% on 1.76% st 1.05% hi 0.76% at 1.49% to 1.05% ri 0.73% en 1.45% nt 1.04% ro 0.73% nd 1.35% ng 0.95% ic 0.70% ti 1.34% se 0.93% ne 0.69% es 1.34% ha 0.93% ea 0.69% or 1.28% as 0.87% ra 0.69% te 1.20% ou 0.87% ce 0.65%

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  • Terminator (franchise)

    Terminator (franchise)

    Terminator is an American media franchise created by James Cameron and Gale Anne Hurd. It is considered to be of the cyberpunk subgenre of science fiction. The franchise primarily focuses on the events leading to a future post-apocalyptic war between a synthetic intelligence known as Skynet, and a surviving resistance of humans led by John Connor. In this future, Skynet uses an arsenal of cyborgs known as Terminators, designed to mimic humans and infiltrate the resistance. Much of the franchise takes place in time periods prior to the Skynet takeover, with both humans and Terminators using time travel to attempt to alter the past and change the outcome of the future. A prominent Terminator model throughout the films is the T-800, commonly known as "the Terminator", with instances of this model portrayed by Arnold Schwarzenegger. The franchise began with the 1984 film The Terminator, written and directed by Cameron, with Hurd as producer. They would return for the 1991 sequel Terminator 2: Judgment Day (or T2). Both films were critical and commercial successes. Terminator 3: Rise of the Machines (or T3) was released in 2003 to positive reviews, followed by Terminator Salvation in 2009 to more negative reviews. Salvation was intended as the first in a new trilogy, which was later scrapped after the film rights were sold. Cameron was consulted for the 2015 film Terminator Genisys, a reboot branching off from the timeline of the original film. It was negatively received and performed poorly at the box-office. Cameron had a larger role as a producer of the 2019 film Terminator: Dark Fate, a direct sequel to T2 that ignores the three preceding films. As with Salvation, both Genisys and Dark Fate were planned as first installments of new trilogies, with the plans scrapped each time due to the films' poor box-office performances. Outside of the theatrical films, Cameron co-directed T2-3D: Battle Across Time, a 1996 theme park film-based attraction. It was produced as the original sequel to T2 and reunited its main cast. A television series, Terminator: The Sarah Connor Chronicles, was developed without Cameron's involvement and aired for two seasons in 2008 and 2009. It was also produced as a T2 sequel, taking place in an alternate timeline that ignores the third film and subsequent events. Terminator Zero, an anime series, premiered in August 2024. The franchise has also inspired several lines of comic books since 1988, and numerous video games since 1991. By 2010, the franchise had generated $3 billion in revenue. == Themes and setting == The central theme of the franchise is the battle for survival between the nearly-extinct human race and the world-spanning, synthetic intelligence that is Skynet. Skynet is positioned in the first film, The Terminator (1984), as a U.S. strategic "Global Digital Defense Network" computer system by Cyberdyne Systems which becomes self-aware. Shortly after activation, Skynet seemingly perceives all humans as a threat to its existence and formulates a plan to systematically wipe out humanity itself. The system initiates a nuclear first strike against Russia, thereby ensuring a devastating second strike and a nuclear holocaust which wipes out much of humanity in the resulting nuclear war. In the post-apocalyptic aftermath, Skynet later builds up its own autonomous machine-based military capability which includes the Terminators used against individual human targets and thereafter proceeds to wage a persistent total war against the surviving elements of humanity, some of whom have militarily organized themselves into a Resistance. At some point in this future, Skynet develops the capability of time travel and both it and the Resistance seek to use this technology in order to win the war; either by altering or accelerating past events or by preventing the apocalyptic timeline. === Judgment Day === In the franchise, Judgment Day (a reference to the biblical Day of Judgment) is the date on which Skynet becomes self-aware, in which case its creators panic and attempt to deactivate the network. As a result, Skynet perceives humanity as a threat and attempts to exterminate them. Skynet launches an all-out nuclear attack on Russia in order to provoke a nuclear counter-strike against the United States, knowing this will eliminate its human enemies. Due to time travel and the consequent ability to change the future, several differing dates are given for Judgment Day. In Terminator 2: Judgment Day (1991), Sarah Connor states that Judgment Day will occur on August 29, 1997. However, this date is delayed following the attack on Cyberdyne Systems in the same film. Judgment Day has various different dates in different timelines of the subsequent films, as well as the television series, creating a multiverse of temporal phenomena. In Terminator 3: Rise of the Machines (2003) and Terminator Salvation (2009), Judgment Day was postponed to July 2003. In Terminator: The Sarah Connor Chronicles (2008–2009), the attack on Cyberdyne Systems in the second film delayed Judgment Day to April 21, 2011. In Terminator Genisys (2015), the fifth film in the franchise, Judgment Day was postponed to an unspecified day in October 2017, attributed to altered events in both the future and the past. Sarah and Kyle Reese travel through time to the year 2017 and seemingly defeat Skynet, but the system core, contained inside a subterranean blast shelter, survives unknown to them, thus further delaying, rather than preventing, Judgment Day. In Terminator: Dark Fate (2019), the direct sequel to Terminator 2: Judgment Day, a date is not given for the new Judgment Day though it is named as such by Grace. Since Grace is a ten-year-old in 2020 and shown as a teenager in the post-Judgment Day world in flash-forwards throughout the film, Judgment Day occurs sometime in the early 2020s in this timeline. == Franchise rights == Before the first film was created, director James Cameron sold the rights for $1 to Gale Anne Hurd, his future wife, who produced the film, under the strict provision that he be allowed to direct it. Hemdale Film Corporation also became a 50-percent owner of the franchise rights, until its share was sold in 1990 to Carolco Pictures, a company founded by Andrew G. Vajna and Mario Kassar. Terminator 2: Judgment Day was released a year later. Carolco filed for bankruptcy in 1995 and its library was subsequently acquired by StudioCanal, which continues to own the franchise today. However, the rights to future Terminator films were ultimately put up for auction. By that time, Cameron had become interested in making a Terminator 3 film. The rights were ultimately auctioned to Vajna in 1997, for $8 million. Vajna and Kassar spent another $8 million to purchase Hurd's half of the rights in 1998, becoming the full owners of the franchise. Hurd was initially opposed to the sale of the rights, while Cameron had lost interest in the franchise and a third film. After the 2003 release of Terminator 3: Rise of the Machines, the franchise rights were sold in 2007 for about $25 million to The Halcyon Company, which produced Terminator Salvation in 2009. Later that year, the company faced legal issues and filed for bankruptcy, putting the franchise rights up for sale. The rights were valued at about $70 million. In 2010, the rights were sold for $29.5 million to Pacificor, a hedge fund that was Halcyon's largest creditor. In 2012, the rights were sold to Megan Ellison and her production company Annapurna Pictures for less than $20 million, a lower price than what was previously offered. The low price was because of the possibility of Cameron regaining the rights in 2019, as a result of new North American copyright laws. Megan's brother David Ellison and Skydance Productions produced Terminator Genisys in 2015. Cameron worked together with David Ellison to produce the 2019 film Terminator: Dark Fate. As the film neared its release, Hurd filed to terminate a copyright grant made 35 years earlier. Under this move, Hurd would again become a 50-percent owner of the rights with Cameron and Skydance could lose the rights to make any additional Terminator films beginning in November 2020, unless a new deal is worked out. Skydance responded that it had a deal in place with Cameron and that it "controls the rights to the Terminator franchise for the foreseeable future". == Films == === The Terminator (1984) === The Terminator is a 1984 science fiction action film released by Orion Pictures, co-written and directed by James Cameron and starring Arnold Schwarzenegger, Linda Hamilton and Michael Biehn. It is the first work in the Terminator franchise. In the film, robots take over the world in the near future, directed by the artificial intelligence Skynet. With its sole mission to completely annihilate humanity, it develops android assassins called Terminators that outwardly appear human. A man named John Connor starts the Tech-Com resistance to fight the machi

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  • Padre Pio (2022 film)

    Padre Pio (2022 film)

    Padre Pio is a 2022 biographical drama film co-written and directed by Abel Ferrara. It stars Shia LaBeouf as the titular role of Padre Pio, a Capuchin Franciscan priest who receives the stigmata, in the background of the World War I in Italy. The film is a co-production of Italy, Germany and the United Kingdom. During its production, LaBeouf converted to Catholicism as result of his spiritual experiences in character as Pio, who is venerated as a saint by the Catholic Church. The film had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It was released theatrically in the United Kingdom on 26 January 2024 by Dazzler Media and in Italy on 18 July 2024 by RS Productions. == Plot == It is the year 1920. Italian WWI veterans have returned to their impoverished villages. Padre Pio arrives at San Giovanni Rotondo after living with his family in Pietrelcina for a number of years. While still sick, he continues to encounter Satan. Satan reveals himself as the instigator of the war and the sociopolitical problems of San Giovanni. While having little contact with the people of this town, Padre Pio learns what the poor are suffering from in the Sacrament of Confession and the Holy Mass, such as when a crippled man walks again because of Padre Pio's prayer. Besides the effects of war, such as medical inadequacy, health conditions and labourers dying from the effects of mustard gas, the people suffer from corrupt, wealthy landowners. Gerardo, a militaristic anti-socialist, threatens to kill any communal labourers tending his land. Many of them join the socialist party as a way to improve their lives. However, after they win the first free election in San Giovanni, Gerardo's forces massacre many of them. Padre Pio asks God that he may become a suffering servant for their salvation. He receives the wounds of Jesus Christ. The stigmata disrupts Satan's influence on San Giovanni Rotondo. == Cast == Shia LaBeouf as Padre Pio Marco Leonardi as Gerardo Salvatore Ruocco as Vincenzo Cristina Chiriac as Giovanna Brando Pacitto as Renato Luca Lionello as Silvestro Asia Argento as Tall Man == Production == According to Abel Ferrara, actor Willem Dafoe suggested that Shia LaBeouf should be cast for the film's leading role. After Ferrara held several Zoom calls with LaBeouf, the latter agreed to join the film, even though very little money was raised (the film was almost never made) and LaBeouf did the project for free. LaBeouf arrived at Old Mission Santa Inés in July 2021 to learn about Padre Pio with the Capuchin Franciscan friars. Thanks to Father Bobby Barbato and Brother Jude Quinto, Br. Alexander Rodriguez met LaBeouf while he attended Mass every day. He learned about the Catholic Church and the Capuchins while living in his truck or spending a few nights in the Capuchin's guest room. He was immersing himself in the Catholic faith. He enrolled in RCIA, revised the script with Rodriguez and trained to do the Latin Mass. Rodriguez traveled with LaBeouf as his spiritual adviser and catechist and was in the film as Padre Pio's companion. Filming occurred in Apulia, Italy, in December 2021. The first place was at the Capuchin friary in San Marco la Catola. Padre Pio exchanged letters with his provincial and spiritual director while living in Pietrelcina with his family. The time was around 1909–1916. Both directors were living in San Marco during these years. Padre Pio expressed in his letters his deep and mysterious relationship with God and health difficulties. This event is in the film. While filming, LaBeouf slept in Padre Pio's bedroom. After San Marco, filming continued outside the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo. Traditionally, St. Michael appeared here in the late 400s. LaBeouf stayed and filmed for a few weeks at the Abbey of Saint Mary of Pulsano. It is near the sanctuary. The rest of the filming took place outside the sanctuary. Ferrara said in 2024 that he used AI for the Italian dub of this film. == Release == Padre Pio had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It received a four-minute ovation. It also competed at the Rio de Janeiro International Film Festival. At the Lisbon & Estoril Film Festival, it was chosen to compete for the "Best Film Award." During its North American premiere at the Mammoth Film Festival, it won the "Achievement for Filmmaking" award for cinematography. At the Taormina Film Festival, it premiered worldwide in Italian. In March 2023, Gravitas Ventures acquired North American rights to the film. It was released in select theaters and on video on demand in the United States on 2 June 2023. The film was released in the United Kingdom and Ireland on 26 January 2024 by Dazzler Media. RS Productions released it in Italy on 18 July 2024. == Reception == On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews, with an average rating of 4.5/10. The website's critics consensus reads, "Tonally unbalanced and burdened with a distracting Shia LaBeouf performance, Padre Pio is one of Abel Ferrara's less divine works." Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 6 critics, indicating "mixed or average" reviews.. Jordan Mintzer of The Hollywood Reporter gave the film a negative review, describing it as "clunky" and criticizing its political themes for possessing "the subtlety of a cartoon for preschoolers." Brian Tallerico of RogerEbert.com gave the film one and a half stars out of four, describing it as a "dull slog". Journalist Glenn Kenny of The New York Times found the film "occasionally rank" and panned LaBeouf's performance, though complimented Ferrara's "sometimes Brechtian consideration of the nodes of political history and spirituality." Film critic Armond White of National Review also criticized the film, describing it as "a work of deluded, semi-improvisational navel-gazing". Film critic Peter Bradshaw of The Guardian gave the film a positive review, with three out of five stars, writing that it is "a weird film...with an undeveloped, improvised feel, like a fragment or shard of something else. Yet there is a background hum there...an awareness of something dark and malign. It is a minor film but interesting." Writing for The New Yorker, Richard Brody considered that "in its hectic, scattershot way, Padre Pio feels very much of the desperate present day," describing it as "a historical drama without historical distance" and "a wild effort to reach the immediate experience of the past and its furies." Faith-based reviews for the film were generally negative. It received negative reviews from Catholic Answers, The Catholic World Report, The Catholic Weekly, The Catholic Thing, and Crisis Magazine. Conversely, it received a mixed review from The Catholic Review, as well as a positive review from America. Criticisms were generally aimed at the film's sexual content and perceived support of left-wing politics.

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  • Algorithmic accountability

    Algorithmic accountability

    Algorithmic accountability refers to the allocation of responsibility for the consequences of real-world actions influenced by algorithms used in decision-making processes. Ideally, algorithms should be designed to eliminate bias from their decision-making outcomes. This means they ought to evaluate only relevant characteristics of the input data, avoiding distinctions based on attributes that are generally inappropriate in social contexts, such as an individual's ethnicity in legal judgments. However, adherence to this principle is not always guaranteed, and there are instances where individuals may be adversely affected by algorithmic decisions. Responsibility for any harm resulting from a machine's decision may lie with the algorithm itself or with the individuals who designed it, particularly if the decision resulted from bias or flawed data analysis inherent in the algorithm's design. == Algorithm usage == Algorithms are widely utilized across various sectors of society that incorporate computational techniques in their control systems. These applications span numerous industries, including but not limited to medical, transportation, and payment services. In these contexts, algorithms perform functions such as: Approving or denying credit card applications; Approving or denying immigrant visas; Determining which taxpayers will be audited on their income taxes; Managing systems that control self-driving cars on a highway; Scoring individuals as potential criminals for use in legal proceedings; Search engines that match and rank database and internet search results; Recommendation systems that filter which news, entertainment, or purchase items are featured in a feed; Market-making algorithms that match sellers and buyers, such as in transportation (ride-hailing) or financial platforms. However, the implementation of these algorithms can be complex and opaque. Generally, algorithms function as "black boxes," meaning that the specific processes an input undergoes during execution are often not transparent, with users typically only seeing the resulting output. This lack of transparency raises concerns about potential biases within the algorithms, as the parameters influencing decision-making may not be well understood. The outputs generated can lead to perceptions of bias, especially if individuals in similar circumstances receive different results. According to Nicholas Diakopoulos: But these algorithms can make mistakes. They have biases. Yet they sit in opaque black boxes, their inner workings, their inner “thoughts” hidden behind layers of complexity. We need to get inside that black box, to understand how they may be exerting power on us, and to understand where they might be making unjust mistakes == Wisconsin Supreme Court case == Algorithms are prevalent across various fields and significantly influence decisions that affect the population at large. Their underlying structures and parameters often remain unknown to those impacted by their outcomes. A notable case illustrating this issue is a recent ruling by the Wisconsin Supreme Court concerning "risk assessment" algorithms used in criminal justice. The court determined that scores generated by such algorithms, which analyze multiple parameters from individuals, should not be used as a determining factor for arresting an accused individual. Furthermore, the court mandated that all reports submitted to judges must include information regarding the accuracy of the algorithm used to compute these scores. This ruling is regarded as a noteworthy development in how society should manage software that makes consequential decisions, highlighting the importance of reliability, particularly in complex settings like the legal system. The use of algorithms in these contexts necessitates a high degree of impartiality in processing input data. However, experts note that there is still considerable work to be done to ensure the accuracy of algorithmic results. Questions about the transparency of data processing continue to arise, which raises issues regarding the appropriateness of the algorithms and the intentions of their designers. == Controversies == A notable instance of potential algorithmic bias is highlighted in an article by The Washington Post regarding the ride-hailing service Uber. An analysis of collected data revealed that estimated waiting times for users varied based on the neighborhoods in which they resided. Key factors influencing these discrepancies included the predominant ethnicity and average income of the area. Specifically, neighborhoods with a majority white population and higher economic status tended to have shorter waiting times, while those with more diverse ethnic compositions and lower average incomes experienced longer waits. It’s important to clarify that this observation reflects a correlation identified in the data, rather than a definitive cause-and-effect relationship. No value judgments are made regarding the behavior of the Uber app in these cases. In TechCrunch website, Hemant Taneja wrote: Concern about “black box” algorithms that govern our lives has been spreading. New York University’s Information Law Institute hosted a conference on algorithmic accountability, noting: “Scholars, stakeholders, and policymakers question the adequacy of existing mechanisms governing algorithmic decision-making and grapple with new challenges presented by the rise of algorithmic power in terms of transparency, fairness, and equal treatment.” Yale Law School’s Information Society Project is studying this, too. “Algorithmic modeling may be biased or limited, and the uses of algorithms are still opaque in many critical sectors,” the group concluded. == Possible solutions == Discussions among experts have sought viable solutions to understand the operations of algorithms, often referred to as "black boxes." It is generally proposed that companies responsible for developing and implementing these algorithms should ensure their reliability by disclosing the internal processes of their systems. Hemant Taneja, writing for TechCrunch, emphasizes that major technology companies, such as Google, Amazon, and Uber, must actively incorporate algorithmic accountability into their operations. He suggests that these companies should transparently monitor their own systems to avoid stringent regulatory measures. One potential approach is the introduction of regulations in the tech sector to enforce oversight of algorithmic processes. However, such regulations could significantly impact software developers and the industry as a whole. It may be more beneficial for companies to voluntarily disclose the details of their algorithms and decision-making parameters, which could enhance the trustworthiness of their solutions. Another avenue discussed is the possibility of self-regulation by the companies that create these algorithms, allowing them to take proactive steps in ensuring accountability and transparency in their operations. In TechCrunch website, Hemant Taneja wrote: There’s another benefit — perhaps a huge one — to software-defined regulation. It will also show us a path to a more efficient government. The world’s legal logic and regulations can be coded into software and smart sensors can offer real-time monitoring of everything from air and water quality, traffic flows and queues at the DMV. Regulators define the rules, technologist create the software to implement them and then AI and ML help refine iterations of policies going forward. This should lead to much more efficient, effective governments at the local, national and global levels.

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  • Artificial intelligence content detection

    Artificial intelligence content detection

    Artificial intelligence detection software aims to determine whether some content (text, image, video, or audio) was generated using artificial intelligence (AI). This software is often unreliable. == Accuracy issues == Many AI detection tools have been shown to be unreliable in detecting AI-generated text. In a 2023 study conducted by Weber-Wulff et al., researchers evaluated 14 detection tools including Turnitin and GPTZero and found that "all scored below 80% of accuracy and only 5 over 70%." They also found that these tools tend to have a bias for classifying texts more as human than as AI, and that accuracy of these tools worsens upon paraphrasing. === False positives === In AI content detection, a false positive is when human-written work is incorrectly flagged as AI-written. Many AI detection platforms claim to have a minimal level of false positives, with Turnitin claiming a less than 1% false positive rate. However, later research by The Washington Post produced much higher rates of 50%, though they used a smaller sample size. False positives in an academic setting frequently lead to accusations of academic misconduct, which can have serious consequences for a student's academic record. Additionally, studies have shown evidence that many AI detection models are prone to give false positives to work written by people whose first language is not English, and also to neurodivergent people. In June 2023, Janelle Shane wrote that portions of her book You Look Like a Thing and I Love You were flagged as AI-generated. === False negatives === A false negative is a failure to identify documents with AI-written text. False negatives often happen as a result of a detection software's sensitivity level or because evasive techniques were used when generating the work to make it sound more human. False negatives are less of a concern academically, since they aren't likely to lead to accusations and ramifications. Notably, Turnitin stated they have a 15% false negative rate. == Text detection == For text, this is usually done to prevent alleged plagiarism, often by detecting repetition of words as telltale signs that a text was AI-generated (including hallucinations). Detection systems may also rely on stylistic and structural regularities associated with LLM output, such as unusually consistent grammar, formulaic transitions, repeated discourse markers, and recurring rhetorical templates. Some tools are designed less to establish authorship provenance than to flag prose that resembles common LLM-generated style patterns. They are often used by teachers marking their students, usually on an ad hoc basis. Following the release of ChatGPT and similar AI text generative software, many educational establishments have issued policies against the use of AI by students. AI text detection software is also used by those assessing job applicants, as well as online search engines, hiring, online moderation and publishing. Current detectors may sometimes be unreliable and have incorrectly marked work by humans as originating from AI while failing to detect AI-generated work in other instances. MIT Technology Review said that the technology "struggled to pick up ChatGPT-generated text that had been slightly rearranged by humans and obfuscated by a paraphrasing tool". AI text detection software has also been shown to discriminate against non-native speakers of English. Two students from the University of California, Davis, were referred to the university's Office of Student Success and Judicial Affairs (OSSJA) after their professors scanned their essays with positive results; the first with an AI detector called GPTZero, and the second with an AI detector integration in Turnitin. However, following media coverage, and a thorough investigation, the students were cleared of any wrongdoing. In April 2023, Cambridge University and other members of the Russell Group of universities in the United Kingdom opted out of Turnitin's AI text detection tool, after expressing concerns it was unreliable. The University of Texas at Austin opted out of the system six months later. In May 2023, a professor at Texas A&M University–Commerce used ChatGPT to detect whether his students' content was written by it, which ChatGPT said was the case. As such, he threatened to fail the class despite ChatGPT not being able to detect AI-generated writing. No students were prevented from graduating because of the issue, and all but one student (who admitted to using the software) were exonerated from accusations of having used ChatGPT in their content. In July 2023, a paper titled "GPT detectors are biased against non-native English writers" was released, reporting that GPTs discriminate against non-native English authors. The paper compared seven GPT detectors against essays from both non-native English speakers and essays from United States students. The essays from non-native English speakers had an average false positive rate of 61.3%. An article by Thomas Germain, published on Gizmodo in June 2024, reported job losses among freelance writers and journalists due to AI text detection software mistakenly classifying their work as AI-generated. In September 2024, Common Sense Media reported that generative AI detectors had a 20% false positive rate for Black students, compared to 10% of Latino students and 7% of White students. To improve the reliability of AI text detection, researchers have explored digital watermarking techniques. A 2023 paper titled "A Watermark for Large Language Models" presents a method to embed imperceptible watermarks into text generated by large language models (LLMs). This watermarking approach allows content to be flagged as AI-generated with a high level of accuracy, even when text is slightly paraphrased or modified. The technique is designed to be subtle and hard to detect for casual readers, thereby preserving readability, while providing a detectable signal for those employing specialized tools. However, while promising, watermarking faces challenges in remaining robust under adversarial transformations and ensuring compatibility across different LLMs. == Anti text detection == There is software available designed to bypass AI text detection. In practice, evasion may not require specialized bypass tools. Paraphrasing, style editing, and removal of repeated discourse markers can substantially reduce the effectiveness of detectors that rely on recognizable surface patterns. A study published in August 2023 analyzed 20 abstracts from papers published in the Eye Journal, which were then paraphrased using GPT-4.0. The AI-paraphrased abstracts were examined for plagiarism using QueText and for AI-generated content using Originality.AI. The texts were then re-processed through an adversarial software called Undetectable.ai in order to reduce the AI-detection scores. The study found that the AI detection tool, Originality.AI, identified text generated by GPT-4 with a mean accuracy of 91.3%. However, after reprocessing by Undetectable.ai, the detection accuracy of Originality.ai dropped to a mean accuracy of 27.8%. Some experts also believe that techniques like digital watermarking are ineffective because they can be removed or added to trigger false positives. "A Watermark for Large Language Models" paper by Kirchenbauer et al. (2023) also addresses potential vulnerabilities of watermarking techniques. The authors outline a range of adversarial tactics, including text insertion, deletion, and substitution attacks, that could be used to bypass watermark detection. These attacks vary in complexity, from simple paraphrasing to more sophisticated approaches involving tokenization and homoglyph alterations. The study highlights the challenge of maintaining watermark robustness against attackers who may employ automated paraphrasing tools or even specific language model replacements to alter text spans iteratively while retaining semantic similarity. Experimental results show that although such attacks can degrade watermark strength, they also come at the cost of text quality and increased computational resources. == Image, video, and audio detection == Several purported AI image detection software exist, to detect AI-generated images (for example, those originating from Midjourney or DALL-E). They are not completely reliable. Industry analyses have also noted that AI-driven image recognition systems often struggle in real-world environments, where inconsistent lighting, noise and variable visual inputs reduce detection reliability, a challenge highlighted in modern agricultural quality-control research. Others claim to identify video and audio deepfakes, but this technology is also not fully reliable yet either. Despite debate around the efficacy of watermarking, Google DeepMind is actively developing a detection software called SynthID, which works by inserting a digital watermark that is invisible to the human eye into the pixels of an image.

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  • I Have No Mouth, and I Must Scream

    I Have No Mouth, and I Must Scream

    "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  • Xaitment

    Xaitment

    xaitment is a German-based company that develops and sells artificial intelligence (AI) software to video game developers and simulation developers. The company was founded in 2004 by Dr. Andreas Gerber, and is a spin-off of the German Research Centre for Artificial Intelligence, or DFKI. xaitment has its main office in Quierschied, Germany, and field offices in San Francisco and China. == Products == xaitment currently sells two AI software modules: xaitMap and xaitControl. xaitMap provides runtime libraries and graphical tools for navigation mesh generation (also called NavMesh generation), pathfinding, dynamic collision avoidance, and individual and crowd movement. xaitControl is a finite-state machine for game logic and character behavior modeling that also includes a real-time debugger. On January 11, 2012, xaitment announced that it making its source code for these modules available to "all current and future US and European licensees". On February 22, 2012 xaitment released two new plug-ins, xaitMap and xaitControl for the Unity Game Engine. The full versions are available for PC (Windows and Linux), PlayStation 3, Xbox 360 and Wii. The pathfinding plug-in is available with a Windows dev environment, but can deployed on iOS, Mac, Android and the Unity Web Player. == Partners == xaitment's AI software is currently integrated into the Unity game engine, Havok's Vision Engine, Bohemia Interactive's VBS2 Simulation Engine, GameBase's Gamebryo game engine. == Customers == xaitment sells its AI software products to video game developers and military and civil simulation developers. Current customers include Tencent, gamania, TML Studios, Emobi Games, IP Keys and others. A full list of customers can be found on xaitment's website.

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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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  • Viola–Jones object detection framework

    Viola–Jones object detection framework

    The Viola–Jones object detection framework is a machine learning object detection framework proposed in 2001 by Paul Viola and Michael Jones. It was motivated primarily by the problem of face detection, although it can be adapted to the detection of other object classes. In short, it consists of a sequence of classifiers. Each classifier is a single perceptron with several binary masks (Haar features). To detect faces in an image, a sliding window is computed over the image. For each image, the classifiers are applied. If at any point, a classifier outputs "no face detected", then the window is considered to contain no face. Otherwise, if all classifiers output "face detected", then the window is considered to contain a face. The algorithm is efficient for its time, able to detect faces in 384 by 288 pixel images at 15 frames per second on a conventional 700 MHz Intel Pentium III. It is also robust, achieving high precision and recall. While it has lower accuracy than more modern methods such as convolutional neural network, its efficiency and compact size (only around 50k parameters, compared to millions of parameters for typical CNN like DeepFace) means it is still used in cases with limited computational power. For example, in the original paper, they reported that this face detector could run on the Compaq iPAQ at 2 fps (this device has a low power StrongARM without floating point hardware). == Problem description == Face detection is a binary classification problem combined with a localization problem: given a picture, decide whether it contains faces, and construct bounding boxes for the faces. To make the task more manageable, the Viola–Jones algorithm only detects full view (no occlusion), frontal (no head-turning), upright (no rotation), well-lit, full-sized (occupying most of the frame) faces in fixed-resolution images. The restrictions are not as severe as they appear, as one can normalize the picture to bring it closer to the requirements for Viola-Jones. any image can be scaled to a fixed resolution for a general picture with a face of unknown size and orientation, one can perform blob detection to discover potential faces, then scale and rotate them into the upright, full-sized position. the brightness of the image can be corrected by white balancing. the bounding boxes can be found by sliding a window across the entire picture, and marking down every window that contains a face. This would generally detect the same face multiple times, for which duplication removal methods, such as non-maximal suppression, can be used. The "frontal" requirement is non-negotiable, as there is no simple transformation on the image that can turn a face from a side view to a frontal view. However, one can train multiple Viola-Jones classifiers, one for each angle: one for frontal view, one for 3/4 view, one for profile view, a few more for the angles in-between them. Then one can at run time execute all these classifiers in parallel to detect faces at different view angles. The "full-view" requirement is also non-negotiable, and cannot be simply dealt with by training more Viola-Jones classifiers, since there are too many possible ways to occlude a face. == Components of the framework == A full presentation of the algorithm is in. Consider an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution ( M , N ) {\displaystyle (M,N)} . Our task is to make a binary decision: whether it is a photo of a standardized face (frontal, well-lit, etc) or not. Viola–Jones is essentially a boosted feature learning algorithm, trained by running a modified AdaBoost algorithm on Haar feature classifiers to find a sequence of classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . Haar feature classifiers are crude, but allows very fast computation, and the modified AdaBoost constructs a strong classifier out of many weak ones. At run time, a given image I {\displaystyle I} is tested on f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". For this reason, the Viola-Jones classifier is also called "Haar cascade classifier". === Haar feature classifiers === Consider a perceptron f w , b {\displaystyle f_{w,b}} defined by two variables w ( x , y ) , b {\displaystyle w(x,y),b} . It takes in an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution, and returns f w , b ( I ) = { 1 , if ∑ x , y w ( x , y ) I ( x , y ) + b > 0 0 , else {\displaystyle f_{w,b}(I)={\begin{cases}1,\quad {\text{if }}\sum _{x,y}w(x,y)I(x,y)+b>0\\0,\quad {\text{else}}\end{cases}}} A Haar feature classifier is a perceptron f w , b {\displaystyle f_{w,b}} with a very special kind of w {\displaystyle w} that makes it extremely cheap to calculate. Namely, if we write out the matrix w ( x , y ) {\displaystyle w(x,y)} , we find that it takes only three possible values { + 1 , − 1 , 0 } {\displaystyle \{+1,-1,0\}} , and if we color the matrix with white on + 1 {\displaystyle +1} , black on − 1 {\displaystyle -1} , and transparent on 0 {\displaystyle 0} , the matrix is in one of the 5 possible patterns shown on the right. Each pattern must also be symmetric to x-reflection and y-reflection (ignoring the color change), so for example, for the horizontal white-black feature, the two rectangles must be of the same width. For the vertical white-black-white feature, the white rectangles must be of the same height, but there is no restriction on the black rectangle's height. ==== Rationale for Haar features ==== The Haar features used in the Viola-Jones algorithm are a subset of the more general Haar basis functions, which have been used previously in the realm of image-based object detection. While crude compared to alternatives such as steerable filters, Haar features are sufficiently complex to match features of typical human faces. For example: The eye region is darker than the upper-cheeks. The nose bridge region is brighter than the eyes. Composition of properties forming matchable facial features: Location and size: eyes, mouth, bridge of nose Value: oriented gradients of pixel intensities Further, the design of Haar features allows for efficient computation of f w , b ( I ) {\displaystyle f_{w,b}(I)} using only constant number of additions and subtractions, regardless of the size of the rectangular features, using the summed-area table. === Learning and using a Viola–Jones classifier === Choose a resolution ( M , N ) {\displaystyle (M,N)} for the images to be classified. In the original paper, they recommended ( M , N ) = ( 24 , 24 ) {\displaystyle (M,N)=(24,24)} . ==== Learning ==== Collect a training set, with some containing faces, and others not containing faces. Perform a certain modified AdaBoost training on the set of all Haar feature classifiers of dimension ( M , N ) {\displaystyle (M,N)} , until a desired level of precision and recall is reached. The modified AdaBoost algorithm would output a sequence of Haar feature classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . The details of the modified AdaBoost algorithm is detailed below. ==== Using ==== To use a Viola-Jones classifier with f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} on an image I {\displaystyle I} , compute f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". === Learning algorithm === The speed with which features may be evaluated does not adequately compensate for their number, however. For example, in a standard 24x24 pixel sub-window, there are a total of M = 162336 possible features, and it would be prohibitively expensive to evaluate them all when testing an image. Thus, the object detection framework employs a variant of the learning algorithm AdaBoost to both select the best features and to train classifiers that use them. This algorithm constructs a "strong" classifier as a linear combination of weighted simple “weak” classifiers. h ( x ) = sgn ⁡ ( ∑ j = 1 M α j h j ( x ) ) {\displaystyle h(\mathbf {x} )=\operatorname {sgn} \left(\sum _{j=1}^{M}\alpha _{j}h_{j}(\mathbf {x} )\right)} Each weak classifier is a threshold function based on the feature f j {\displaystyle f_{j}} . h j ( x ) = { − s j if f j < θ j s j otherwise {\displaystyle h_{j}(\mathbf {x} )={\begin{cases}-s_{j}&{\text{if }}f_{j}<\theta _{j}\\s_{j}&{\text{otherwise}}\end{cases}}} The threshold value θ j {\displaystyle \theta _{j}} and the polarity s j ∈ ± 1 {\displaystyle s_{j}\in \pm 1} are determined in the training, as well as the coefficients α j {\displaystyle \alpha _{j}} . Here a simplified version of the lea

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  • Oriented energy filters

    Oriented energy filters

    Oriented energy filters are used to grant sight to intelligent machines and sensors. The light comes in and is filtered so that it can be properly computed and analyzed by the computer allowing it to “perceive” what it is measuring. These energy measurements are then calculated to take a real time measurement of the oriented space time structure. 3D Gaussian filters are used to extract orientation measurements. They were chosen due to their ability to capture a broad spectrum and easy and efficient computations. The use of these vision systems can then be used in smart room, human interface and surveillance applications. The computations used can tell more than the standalone frame that most perceived motion devices such as a television frame. The objects captured by these devices would tell the velocity and energy of an object and its direction in relation to space and time. This also allows for better tracking ability and recognition.

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  • Fuzzy number

    Fuzzy number

    A fuzzy number is a generalization of a regular real number in the sense that it does not refer to one single value but rather to a connected set of possible values, where each possible value has its own weight between 0 and 1. This weight is called the membership function. A fuzzy number is thus a special case of a convex, normalized fuzzy set of the real line. Just like fuzzy logic is an extension of Boolean logic (which uses absolute truth and falsehood only, and nothing in between), fuzzy numbers are an extension of real numbers. Calculations with fuzzy numbers allow the incorporation of uncertainty on parameters, properties, geometry, initial conditions, etc. The arithmetic calculations on fuzzy numbers are implemented using fuzzy arithmetic operations, which can be done by two different approaches: (1) interval arithmetic approach; and (2) the extension principle approach. A fuzzy number is equal to a fuzzy interval. The degree of fuzziness is determined by the a-cut which is also called the fuzzy spread.

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  • Course of Action Display and Evaluation Tool

    Course of Action Display and Evaluation Tool

    Course of Action Display and Evaluation Tool (CADET) was a research program, and the eponymous prototype software system, that applied knowledge-based techniques of Artificial Intelligence to the problem of battle planning. CADET was also known as Course of Action Display and Elaboration Tool. It was considered an early example of such systems and was funded by the United States Army and by the Defense Advanced Research Projects Agency (DARPA). CADET influenced a later DARPA program called RAID which in turn produced a technology adopted by the United States Army and the United States Marine Corps. == History == The development of Course of Action Display and Evaluation Tool (CADET) began in 1996, at the Carnegie Group, Inc., Pittsburgh PA, funded under the Small Business Innovation Research (SBIR) program. The goal of the first phase SBIR project was to produce “...a live storyboard of [Course of Action] COA development, wargaming, animation, and assessment.” In 1997, the United States Army awarded the Carnegie Group Inc. $750K for SBIR Phase II. The intent was to develop “...a war-gaming modeling and analysis Decision Support System (DSS), … CADET will consist of a combination of Knowledge-Based and decision analytic tools and technologies to provide fast nimble COA war-gaming modeling, simulation, and animation under direct control of the commander and staff. ...Phase II will result in an operations prototype (OP) suitable for use and evaluation in field exercises.” In 2000, CADET was integrated and experimentally evaluated within the framework of the Integrated Course of Action Critiquing and Elaboration System (ICCES) experiment, conducted by the Battle Command Battle Laboratory – Leavenworth (BCBL-L) within the program Concept Experimentation Program (CEP) sponsored by TRADOC. In 2000-2002, DARPA applied CADET in the program titled Command Post of the Future (CPoF) as a tool to generate a course of action. Under the umbrella of the CPoF program, CADET was integrated with the FOX GA system to provide a detailed planner, coupled with COA generation capability. In the same period, Battle Command Battle Lab-Huachuca (BCBL-H) performed an integration CADET with the system called All Source Analysis System-Light (ASAS-L); here CADET was intended to generate plans for intelligence assets, and conduct wargames of different COAs, enemy versus friendly. From 1996 through 2002, work on CADET was performed by the Carnegie Group, Inc., and supported by funding from the US Army CECOM (CADET SBIR Phase I, CADET SBIR Phase II and CADET Enhancements); DARPA (Command Post of the Future); and TRADOC BCBL-H. == Operation == CADET was intended to be used by the staff of the United States Army Brigade, within the Military Decision Making Process (MDMP). In particular, CADET helped produce, automatically or semi-automatically, the products generated within the step of MDMP called Course of Action (COA) Development and the following step of MDMP called COA Analysis and Wargaming. CADET software resided on a laptop computer. Using the computer, the staff officers entered the input to CADET, or alternatively this input arrived at CADET from upstream computer systems. The input consisted of: Order of Battle, i.e., the units constituting the friendly brigade and the enemy units participating in the battle, and their various characteristics; primary activities of the Course of Action, where each activity is typically linked to one or more geographic areas or a route, and sometimes to a major unit executing the activity; digital map of the region where the battle was to take place, including the digital description of significant features such as locations of friendly and enemy units, roads, assembly areas, objectives, and axes of attacks. Taking this input, CADET automatically performed the following tasks (not sequentially): Planning and scheduling the low-level tasks necessary for a given COA Allocating tasks to various units and assets constituting the brigade Assigning suitable locations and routes Estimating the battle losses (attrition) of friendly and enemy forces, and consumption of resources (e.g., fuel and ammunition) Predicting enemy actions or reactions. CADET produced the following outputs: Synchronization matrix, directly editable and printable; synchronization matrix is a kind of Gantt chart that shows assignments of activities to units, to locations/routes and to time periods Map overlays in PPT or JPG formats Animation output XML formally-encoded plan Textual Operation Plan (OPLAN) draft E-mail messages with attachments: XML and text versions of OPLAN == Design == The core algorithm is a planning algorithm where CADET uses a knowledge-based approach of the hierarchical-task-network type. Each task class is associated with a model of more detailed subtasks that should be performed in order to accomplish the higher-level task. Algorithms selected (heuristically) a task and then decomposes it into subtasks. Although similar to hierarchical-task-network planning algorithm, CADET’s algorithm includes elements of adversarial reasoning. After adding a subtask, the algorithm uses rules to determine the enemy’s probable actions and reactions as well as friendly counteractions This approximated the action-reaction-counteraction technique of manual wargaming used by the United States Army. When a task involves movements of a unit, the algorithm performs routing, i.e., finds a route for the movement that minimizes the time required for the movement as well as exposure to the enemy attacks. Each added tasks (subtask) normally requires a unit which would execute the task, and a time period when the task would be executed. Therefore, when a certain number of subtasks is added by the planning process, the algorithm also performs the allocation of the newly added subtasks to units and to time periods (i.e., scheduling). allocation and scheduling of tasks relies on both domain-specific and constraint-guided heuristics. A tasks may also require expenditures of fuel and ammunition. If the tasks involves engagement with the enemy, the performing units will experience lossesof personnel and weapon systems (attrition). CADET’s algorithm includes estimates of consumption of different types of consumables, and also attrition. Depending on the degree of attrition and consumption, CADET adds tasks that are needed to refuel or reconstitute the units. The algorithm continually interleaves incremental steps of planning, routing, scheduling, and attrition and consumption estimates. == Evaluation == Two evaluation experiments are described in literature. The first experiment called ICCES took three days. The subjects were Army officers from combat arms branches, with 11 to 23 years of active service, in the ranks of majors and lieutenant colonels, a total of 8. Each officer was given 4 hours of training learning to operate CADET and related computer tools. Officers were divided into two groups and given a tactical scenario. One group (the control group) used the traditional, manual process; the other used the system called ICCES, the automated core of which was CADET. Each group produced three COA sketches and statements and one COA synchronization matrix. Then, the experiment was repeated with another scenario but the control group became the automated group and vice versa. The users were generally satisfied with the quality of the ICCES-generated products. The group using ICCES made only a few changes to the product that was automatically generated, indicating that they agreed with the majority of the plan that ICCES produced. The second experiment was reminiscent of Turing test. The experiment involved one user, nine judges (active-duty officers, mainly colonels and lieutenant colonels), and five scenarios obtained from several US Army exercises. For each scenario, experimenters obtained synchronization matrices that were produced in earlier exercises, typically by a team of four to five officers in three to four hours, spending approximately 16 person-hours in total. Using these scenarios and COAs, the user had CADET generate automatically detailed plans and express them as synchronization matrices. The user, a retired US Army officer, reviewed and slightly edited the matrices. The entire process took less than two minutes of computations by and approximately 20 minutes of review and post-editing, approximately 0.4 person-hour in total per product. The experimenters gave the resulting matrices the same visual style as those produced by humans. The judges, who did not know whether a planning product was a traditional product of humans, or with computerized aids, were asked to grade the products. The result was that the average grades for manual products and CADET-generated products were statistically indistinguishable, even though CADET-generated products required far less time to produce. == Legacy == CADET served as “...an example of how even relatively basic A

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  • MyPertamina

    MyPertamina

    MyPertamina is a digital financial service platform from Pertamina that integrated with the apps LinkAja. This application is used for non-cash fuel oil payments at Pertamina's public fueling stations. == History == Originally, MyPertamina were merchandise outlets of Pertamina products. It was launched on December 21, 2016, with 3 outlets in Jakarta. MyPertamina sells clothes, hats, and other products with Pertamina products brands. One month later (January 2017), Pertamina and Bank Mandiri entered into a partnership to launch the Mandiri Credit Card Pertamina Mastercard product, so that consumers can make payments when users fill up fuel at Pertamina gas stations. In August 2017, MyPertamina app and electronic card were launched through MyPertamina Loyalty program at Gaikindo Indonesia International Auto Show 2017. The card can be used on EDC machines for non-cash payments. Initial balances are in its own app, that can be top up by ATMs and online banking.

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  • Riffusion

    Riffusion

    Riffusion is a neural network, designed by Seth Forsgren and Hayk Martiros, that generates music using images of sound rather than audio. The resulting music has been described as "de otro mundo" (otherworldly), although unlikely to replace man-made music. The model was made available on December 15, 2022, with the code also freely available on GitHub. The first version of Riffusion was created as a fine-tuning of Stable Diffusion, an existing open-source model for generating images from text prompts, on spectrograms, resulting in a model which used text prompts to generate image files which could then be put through an inverse Fourier transform and converted into audio files. While these files were only several seconds long, the model could also use latent space between outputs to interpolate different files together (using the img2img capabilities of SD). It was one of many models derived from Stable Diffusion. In December 2022, Mubert similarly used Stable Diffusion to turn descriptive text into music loops. In January 2023, Google published a paper on their own text-to-music generator called MusicLM. Forsgren and Martiros formed a startup, also called Riffusion, and raised $4 million in venture capital funding in October 2023.

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  • TCEC Season 14

    TCEC Season 14

    The 14th season of the Top Chess Engine Championship took place between 17 November 2018 and 24 February 2019. Stockfish was the defending champion, having defeated Komodo in the previous season's superfinal. The season is notable for two things: the emergence of two strong, new engines, the Komodo variant Komodo Monte Carlo tree search (MCTS) and the neural network engine Leela Chess Zero, and the dramatic superfinal. Komodo MCTS and Leela fought their way from Division 4 and Division 3 respectively to the Premier Division, with Leela further qualifying for the superfinal against Stockfish. The superfinal was a topsy-turvy affair with the lead changing hands several times. It finished as the closest superfinal TCEC has ever seen, with Stockfish winning by a single game, 50.5–49.5 (+10 =81 -9). == Overview == === Structure === The season comprised five divisions: from the lowest Division 4 to the Premier Division. The top two engines of each division promote to the division above, while the bottom two engines relegate. The top two engines of the Premier Division contest a 100-game superfinal. The lengths of the opening books used increases as the divisions progress. The superfinal itself used a custom opening book designed by Jeroen Noomen. === Rules === The TCEC draw and win rules were slightly modified for Season 14. The game is now adjudicated as drawn if, after move 30, both engines have evals ±0.08 for five consecutive moves, and there are neither pawn moves nor a capture. Win adjudication now occurs if both engines have an eval of ±10 for five consecutive moves. Following the controversy over DeusX's participation last season, the uniqueness rule for neural networks was modified such that at least two of the following three hallmarks must be unique: The code for training the neural network The neural network (and weights file) itself The engine that executes this network This change meant DeusX did not meet the uniqueness criteria and therefore did not participate. Aside from this change, the season used the standard rules of the TCEC. == Results == === Division 4 === New entrant Komodo MCTS dominated Division 4, winning by a clear four points, although it did lose a game to second-place finisher rofChade. Fellow new entrant Scorpio NN performed badly and finished last, drawing only one game and losing the rest. === Division 3 === The neural network engine Leela Chess Zero had just missed promotion to Division 2 in the previous season. Since its relatively weak performance last season was partly due to hardware problems, and since it had shown a lot of improvement in strength, it was the hot favourite in this division. Leela lived up to its billing by comprehensively defeating everyone else. In a portent of future divisions however, Leela surprisingly dropped a game to third-place Arasan. Komodo MCTS was also improving quickly, and an updated version finished second behind Leela. The gap between second and third was 6.5 points, illustrating the gulf in class. === Division 2 === Although Division 2 engines are significantly stronger than Division 3, Leela and Komodo MCTS continued to dominate the competition, and again finished first and second. Komodo MCTS only lost one game to Leela, while Leela's tendency to occasionally lose to weaker engines saw her losing a game to 4th-placed Booot. Third place finisher Xiphos gave Leela and Komodo MCTS a run for their money, and was in the running up until the final rounds when it lost a crucial game to Leela. This loss left it one point behind Komodo MCTS in the final standings. === Division 1 === Leela and Komodo MCTS's rampage through the lower divisions continued, and they again finished first and second. In a demonstration of how much it had improved, Leela scored 20/28 in this division, the same score it had achieved in Division 2. This was also a TCEC points record for this division. However, Leela dropped a game against fourth-place finisher Chiron. Komodo MCTS, which had yet to lose a game in the lower divisions except to Leela, also conceded its first loss to third-place Fizbo. At the other end of the table, former champions Jonny and Fritz, which had not been updated, found themselves outclassed and finished second-last and last respectively; however with fellow competitor Ginkgo crashing five times (and therefore being disqualified), Jonny managed to stay in the division. The penultimate game for this division set a new TCEC moves record for a decisive game: 308 moves before Leela defeated Fritz. === Premier division === This was the strongest premier division ever, with multiple-time champions Stockfish, Komodo, and Houdini in the mix. Right from the start it became clear that Stockfish was in a league of its own, and it dominated the division, scoring wins against every other engine without losing a game. Second place however was a hotly-contested affair, with Leela, Komodo and Houdini neck-and-neck for most of the division. Houdini took the early lead, but Komodo gained second after winning two games by forfeit when its sibling Komodo MCTS crashed. This led to murmurs of a "Konspiracy". However, when both Komodo and Houdini failed to score more wins against the lower half of the field, Leela was able to take the lead. Halfway through the division the race was upended again when Leela went through a bad streak, losing three games in a row to Stockfish, Komodo, and Fire. This led to Komodo regaining second place, only for Komodo MCTS to crash yet again. By TCEC rules this meant Komodo MCTS was disqualified and all its scores were zeroed out, which put Leela back in second place. With three games left, Leela missed a win against Andscacs, which would've more or less secured her a place in the superfinal. Meanwhile, Komodo kept the division interesting by winning two of its last three games. Because Komodo had superior tiebreakers to Leela, this meant Komodo would qualify for the superfinal unless Leela managed to hold Stockfish to a draw with Black in the last game of the division. In a tense final game, Stockfish came close to winning, but missed the winning line. Leela managed to draw and qualified for the superfinal. At the other end of the table, it was quickly apparent that Ethereal and Andscacs were the weakest engines and would likely relegate. However, when Komodo MCTS was disqualified (and therefore relegated), it threw both engines a lifeline, since they could now stay in the division by beating the other. Andscacs was able to score a head-to-head win against Ethereal, but was crushed by Stockfish (+0 =2 -4) and Leela (+0 =3 -3). Ethereal didn't manage to score a win in the entire division, but did manage to score more draws than Andscacs, condemning Andscacs to relegation. === Superfinal === Going into the superfinal expectations were high for Leela: she had received a new network and had just won her first major competition when she defeated Houdini in the second TCEC cup. However, she had won the tournament without having played Stockfish (who had been surprisingly eliminated by Houdini in the semifinals). That, plus the fact that Stockfish dominated Premier Division and had never lost a match to Leela, left it unclear which engine was superior, although most spectators favored Stockfish. The superfinal turned out to be a roller-coaster. It began with Stockfish drawing first blood in game 7, and then scoring another win in game 10. Leela hit back with wins in game 11 and 13, but then lost games 20, 21, and 22. This gave Stockfish a 3-point lead. However, in the next 30 games, Leela was the only one to score wins: it first equalized by winning games 25, 27, and 29, and then took the lead by winning games 49 and 53. Stockfish won game 56, but Leela won game 63, maintaining her lead. There followed two dramatic games. In game 65, Leela built up a winning position. Stockfish showed a +153 evaluation, indicating that it had found a forced line leading to an endgame tablebase win; indeed analysis with 7-piece tablebases showed that Leela's position was winning. Under previous seasons' rules, the game would have been adjudicated as a win because Leela's evaluation was above 6.5. However under the new rules, Leela's +8.92 evaluation was not enough to adjudicate. It turned out that Leela could not see the winning line, and shuffled her pieces aimlessly, leading to a 50-move draw. In game 66, Stockfish was given a substantial advantage by the opening, but failed to make the most of it. The evaluations were leveling out to zero when the internet connection to the GPU servers was cut off. By tournament rules, this meant the game was replayed from scratch. After a further internet disconnection and restart, Stockfish handled the opening better and won, leaving Leela with a 1-point lead. In the last third of the superfinal, there followed more drama as Leela often built up strong advantages, but Stockfish showed great resourcefulness in defending inferior positions. Meanwh

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