AI App Video Generator

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  NASA AI Assisted-Air Quality Monitoring Project

  The NASA Expert-System Ion Trap Mass Spectrometer (ES-ITMS) Project was a public-private partnership to develop an artificial intelligence assisted, air quality monitoring system and was qualified for use on the Space Shuttle. The partnership was also the first cost and intellectual property shared public-partnership implemented by NASA, which used the commercial Research and Development Limited Partnership (RDLP) model that had been adopted by the Reagan Administration for Department of Defense semiconductor development, and recommended for use by NASA for space commercialization. The project partners included NASA, the University of Florida and Finnigan MAT Corporation, was organized and administered by the NASA Joint Enterprise Institute (subsequently NASA Joint Sponsored Program) and ran from 1988 through 1990. The partnership concluded final testing in 1991, generating four patents, expert system software and application protocol reports. The system was space qualified for use on the Shuttle and elements of the ES-ITMS system were integrated into the product Improvements for Finnigan MAT corporation. The success of the partnership lead NASA to create a pilot program to develop partnership business models as an ongoing management practice. == Purpose and objectives == The need to monitor air quality in confined spaces represented an increasing challenge for NASA's planned space missions and private sector facility managers facing the increased scrutiny of possible air contaminants. Up to the early 1980's, air quality monitors generally required large spaces and human technicians to interpret readings. This created a need for miniaturized air quality monitors that could generate reliable and accurate analytic results without on-site technician presence. NASA initiated projects to develop..."mobile and/or portable mass spectrometers" that evaluated the "tradeoff between instrumentation capabilities and space, weight and power considerations." NASA selected a "commercial ITMS instrument capable of generating electron ionization, chemical ionization and mass spectrometry data", to develop a linked expert system to accomplish analysis without human intervention. The commercial instrumentation was from Finnigan MAT corporation while the scientific expertise to support expert system development was available at the University of Florida. The project managers at NASA Ames created a single, integrated project using the RDLP model with objectives to: Develop AI/expert system software for instrument control (NASA's role) Expand sensitivity, selectivity and speed of the spectrometer (Univ Florida role) Expand the spectrometer analytic capability and automate the screening (Finnigan role) == Membership == The partnership included seven specialists from five member organizations: Federal Government National Aeronautics and Space Administration (NASA) NASA Ames Research Center (ARC) NASA Kennedy Space Center (KSC) Commercial Finnigan MAT Corporation (Thermo-Fisher Scientific) TGS Technology, Inc. Research Management University of Florida == Organization, management and administration == The technical project was organized into two development teams, one located in at the NASA Ames Research Center covering expert systems and analytic capabilities and one in Florida covering improved sensitivity and testing. The partnership management and administration was provided by a non-profit, partnership support organization: the Joint Enterprise Institute operating through San Francisco State University Foundation (SFSUF) with a NASA employee liaison, Syed Shariq. == Public-private partnership == The partnership structure was as a prototype test of a pilot NASA program to develop public-private partnership business models. The pilot program was known as the NASA Joint Sponsored Research Program (JSRP), which operated as the NASA Joint Enterprise Institute between 1988 and 1991. The partnership was the first public-private, research and development partnership implemented by NASA in response to national policy shifts to increase technology transfer and space commercialization. The partnership structure included a two year technology development and testing plan that cost $610,000, of which NASA funded $310,000, Finnigan $175,000 and the University of Florida $95,000. == Results and commercialization == The project generated patents (4), software (2) and application protocol reports (8). NASA gained use of the patents and jointly development software while Finnigan received commercial utilization rights. The results were commercialized within eighteen months of project completion. == Recognition == NASA recognized the project as a space qualified instrument. Its achievements were reported to the NASA Administrator, directly leading to establishment of the agency-wide Joint Sponsored Research Program.

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  Pippit

  Pippit (Chinese: 小云雀; pinyin: Xiǎoyúnquè) is an artificial intelligence content creation platform developed by the Chinese technology company ByteDance. The platform, powered by CapCut leverages multimodal AI technology to streamline professional-grade video and image production, specifically targeting small and medium-sized enterprisesand social media creators. == History == In May 2025, ByteDance officially launched Pippit, which is positioned as an AI video and picture creation tool. In early 2026, Pippit underwent a major architectural overhaul with the integration of the Dreamina seedance 2.0. This technical milestone introduced the "Short Drama Agent" functionality, which enables the end-to-end conversion of scripts up to 100,000 words into fully rendered video productions.

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  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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  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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  Micro stuttering

  Micro stuttering is a visual artifact in real-time computer graphics in which the time intervals between consecutively displayed frames are uneven, even though the average frame rate reported by benchmarking software appears adequate. Tools such as 3DMark typically compute frame rates over intervals of one second or more, which can conceal momentary drops in the instantaneous frame rate that the viewer perceives as hitching or jerking of on-screen motion. At low frame rates the effect is visible as a stutter in moving images, degrading the experience in interactive applications such as video games. In severe cases a lower but more consistent frame rate can appear smoother than a higher but more erratic one. The term gained prominence in the late 2000s in discussions of multi-GPU rendering (see History), but micro stuttering also affects single-GPU systems. Common causes on modern hardware include real-time shader compilation, asset streaming from storage, VRAM exhaustion, and driver bugs. == Causes == === Shader compilation === A common cause of micro stuttering on modern PCs is real-time shader compilation. Shaders are small programs that instruct the GPU on how to render visual effects such as lighting, shadows, and reflections. On consoles, developers can pre-compile all shaders for the known, fixed hardware. On PCs, the variety of GPU architectures means shaders must often be compiled at run time, either when the game launches or during gameplay itself. When the rendering engine encounters a shader that has not yet been compiled, the CPU must finish the compilation before the GPU can draw the affected object. This causes a spike in frame time that the player perceives as a hitch. The problem has been particularly associated with games built on Unreal Engine 4 running under DirectX 12, because DX12 shifts more shader management responsibility to the application. Several techniques exist to reduce shader compilation stutter. Pipeline State Object (PSO) pre-caching records the shader permutations used at runtime so that they can be compiled in advance on subsequent launches. Asynchronous shader compilation moves the work to background CPU threads to avoid blocking the main rendering thread. Platform-level services such as Steam's shader pre-caching distribute previously compiled shaders to users with matching GPU hardware. The Steam Deck, which contains a single fixed GPU, benefits from pre-compiled shader caches because all units share the same hardware configuration. === Other causes === Micro stuttering on single-GPU systems can have several additional causes. CPU bottlenecks or scheduling interruptions from background tasks can prevent the processor from preparing frames at regular intervals. Asset streaming during gameplay (loading textures, geometry, or audio from storage) can produce hitches sometimes called traversal stutter; the use of solid-state drives and technologies such as DirectStorage has reduced but not eliminated this. VRAM exhaustion forces data to be swapped between video memory and system memory over the PCI Express bus, which is slower. Graphics driver bugs can also introduce stutter; Nvidia released hotfix driver 551.46 in February 2024 to correct intermittent micro stuttering when V-Sync was enabled. == Measurement == Micro stuttering drew attention to the limitations of average frame rate as a performance metric. In 2013, Scott Wasson at The Tech Report published a series of articles advocating frame time analysis, in which the delivery time of every individual frame is recorded and plotted rather than collapsed into a single frames-per-second figure. This approach was adopted by other hardware review publications in the following years. GPU reviews now routinely report 1% low and 0.1% low frame rates alongside the average. The 1% low is the average frame rate of the slowest 1% of frames in a sample; it serves as an indicator of worst-case smoothness. A large gap between the average and the 1% low suggests poor frame pacing. Tools for capturing per-frame timing data include FRAPS, PresentMon, OCAT, CapFrameX, and MSI Afterburner with RivaTuner Statistics Server. == Mitigation == === Frame pacing === Frame pacing is a software technique that regulates the timing of frame delivery to produce even intervals between displayed frames. Game engines, GPU drivers, and platform libraries all implement frame pacing strategies to varying degrees. On mobile platforms, Google provides the Android Frame Pacing library (Swappy) as part of the Android Game Development Kit. In December 2025, the Khronos Group published the VK_EXT_present_timing Vulkan extension, giving developers explicit control over presentation timing in a cross-platform graphics API for the first time. === Variable refresh rate === Variable refresh rate (VRR) display technologies allow a monitor's refresh rate to change to match the GPU's frame output. Implementations include Nvidia G-Sync (2013), AMD FreeSync (2015), and the VESA Adaptive-Sync standard built into DisplayPort 1.2a and later. VRR eliminates the screen tearing that results from a mismatch between frame rate and refresh rate, and avoids the frame-holding behaviour of V-Sync that can itself cause stutter. It is effective at smoothing moderate frame rate fluctuations but cannot compensate for large sudden spikes in frame time such as those caused by shader compilation or heavy asset streaming. VRR support has become standard in gaming monitors, televisions (via HDMI 2.1), and the Xbox Series X/S and PlayStation 5 consoles. === Frame generation === Beginning with DLSS 3 on the GeForce RTX 40 series in 2022, Nvidia introduced AI-based frame generation, which uses dedicated optical flow hardware and a neural network to create new frames between traditionally rendered ones. AMD followed with FSR 3 in 2023, using an algorithmic approach, and the AI-based FSR 4 for the Radeon RX 9000 series in 2025. DLSS 4, released in January 2025 for the GeForce RTX 50 series, can generate up to three frames per rendered frame using a technique called Multi Frame Generation. Frame generation increases the displayed frame rate but introduces its own frame pacing concerns. If the underlying rendered frames are unevenly timed, the interpolated frames can make the unevenness more apparent rather than less. DLSS 4 addresses this with hardware-level flip metering on the GPU's display engine, which controls the timing of frame presentation more precisely than the CPU-based pacing used in DLSS 3. Both vendors pair frame generation with latency-reduction features (Nvidia Reflex and AMD Anti-Lag+) to offset the additional input latency that results from inserting synthetic frames into the pipeline. === Frame rate limiters === Capping the frame rate below the display's maximum refresh rate, using tools such as RivaTuner Statistics Server, in-game limiters, or driver-level settings, is a common way to improve frame pacing. Preventing the GPU from running ahead of the display reduces variability in frame delivery times and can produce a smoother result than an uncapped but more irregular frame rate. == History == === Multi-GPU configurations === Micro stuttering was first widely documented in the late 2000s as a side effect of multi-GPU configurations using Alternate Frame Rendering (AFR), in which consecutive frames are assigned to alternating GPUs. Because each GPU may take a different amount of time to complete its assigned frame — due to varying scene complexity, driver scheduling, or inter-GPU communication overhead — the resulting frame delivery is irregular even when the average frame rate is high. Both Nvidia SLI and AMD CrossFireX were affected, with dual-GPU setups exhibiting the worst frame pacing irregularities. In 2012 benchmarks using Battlefield 3, dual Radeon HD 7970 cards in CrossFire showed 85% variation in frame delivery times compared with 7% for a single card, while dual GeForce GTX 680 cards in SLI showed only 7% variation compared with 5% for a single card. Multi-GPU micro stuttering became a significant factor in the eventual decline and discontinuation of consumer multi-GPU gaming. Nvidia restricted SLI to a handful of enthusiast-class cards from the GeForce 10 series onward, then replaced it with NVLink on the GeForce RTX 20 series, which saw limited gaming adoption. AMD ceased active CrossFire development around 2017. By the mid-2020s, neither vendor's current consumer GPUs support multi-GPU rendering for games. Other factors that contributed to the decline include DirectX 12 placing multi-GPU support in the hands of game developers rather than driver authors, the incompatibility of temporal anti-aliasing and other temporal rendering techniques with AFR, and the increasing size, power draw, and cost of individual GPUs. The third-party utility RadeonPro could reduce CrossFire micro stuttering through dynamic V-Sync and frame pacing adjustments, and AMD later introduced a driver-level frame paci

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  Vague set

  In mathematics, vague sets are an extension of fuzzy sets. In a fuzzy set, each object is assigned a single value in the interval [0,1] reflecting its grade of membership. This single value does not allow a separation of evidence for membership and evidence against membership. Gau et al. proposed the notion of vague sets, where each object is characterized by two different membership functions: a true membership function and a false membership function. This kind of reasoning is also called interval membership, as opposed to point membership in the context of fuzzy sets. == Mathematical definition == A vague set V {\displaystyle V} is characterized by its true membership function t v ( x ) {\displaystyle t_{v}(x)} its false membership function f v ( x ) {\displaystyle f_{v}(x)} with 0 ≤ t v ( x ) + f v ( x ) ≤ 1 {\displaystyle 0\leq t_{v}(x)+f_{v}(x)\leq 1} The grade of membership for x is not a crisp value anymore, but can be located in [ t v ( x ) , 1 − f v ( x ) ] {\displaystyle [t_{v}(x),1-f_{v}(x)]} . This interval can be interpreted as an extension to the fuzzy membership function. The vague set degenerates to a fuzzy set, if 1 − f v ( x ) = t v ( x ) {\displaystyle 1-f_{v}(x)=t_{v}(x)} for all x. The uncertainty of x is the difference between the upper and lower bounds of the membership interval; it can be computed as ( 1 − f v ( x ) ) − t v ( x ) {\displaystyle (1-f_{v}(x))-t_{v}(x)} .

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  AI@50

  AI@50, formally known as the "Dartmouth Artificial Intelligence Conference: The Next Fifty Years" (July 13–15, 2006), was a conference organized by James H. Moor, commemorating the 50th anniversary of the Dartmouth workshop which effectively inaugurated the history of artificial intelligence. Five of the original ten attendees were present: Marvin Minsky, Ray Solomonoff, Oliver Selfridge, Trenchard More, and John McCarthy. While sponsored by Dartmouth College, General Electric, and the Frederick Whittemore Foundation, a $200,000 grant from the Defense Advanced Research Projects Agency (DARPA) called for a report of the proceedings that would: Analyze progress on AI's original challenges during the first 50 years, and assess whether the challenges were "easier" or "harder" than originally thought and why Document what the AI@50 participants believe are the major research and development challenges facing this field over the next 50 years, and identify what breakthroughs will be needed to meet those challenges Relate those challenges and breakthroughs against developments and trends in other areas such as control theory, signal processing, information theory, statistics, and optimization theory. A summary report by the conference director, James H. Moor, was published in AI Magazine. == Conference Program and links to published papers == James H. Moor, conference Director, Introduction Carol Folt and Barry Scherr, Welcome Carey Heckman, Tonypandy and the Origins of Science === AI: Past, Present, Future === John McCarthy, What Was Expected, What We Did, and AI Today Marvin Minsky, The Emotion Machine === The Future Model of Thinking === Ron Brachman and Hector Levesque, A Large Part of Human Thought David Mumford, What is the Right Model for 'Thought'? Stuart Russell, The Approach of Modern AI === The Future of Network Models === Geoffrey Hinton & Simon Osindero, From Pandemonium to Graphical Models and Back Again Rick Granger, From Brain Circuits to Mind Manufacture === The Future of Learning & Search === Oliver Selfridge, Learning and Education for Software: New Approaches in Machine Learning Ray Solomonoff, Machine Learning — Past and Future Leslie Pack Kaelbling, Learning to be Intelligent Peter Norvig, Web Search as a Product of and Catalyst for AI === The Future of AI === Rod Brooks, Intelligence and Bodies Nils Nilsson, Routes to the Summit Eric Horvitz, In Pursuit of Artificial Intelligence: Reflections on Challenges and Trajectories === The Future of Vision === Eric Grimson, Intelligent Medical Image Analysis: Computer Assisted Surgery and Disease Monitoring Takeo Kanade, Artificial Intelligence Vision: Progress and Non-Progress Terry Sejnowski, A Critique of Pure Vision === The Future of Reasoning === Alan Bundy, Constructing, Selecting and Repairing Representations of Knowledge Edwina Rissland, The Exquisite Centrality of Examples Bart Selman, The Challenge and Promise of Automated Reasoning === The Future of Language and Cognition === Trenchard More The Birth of Array Theory and Nial Eugene Charniak, Why Natural Language Processing is Now Statistical Natural Language Processing Pat Langley, Intelligent Behavior in Humans and Machines === The Future of the Future === Ray Kurzweil, Why We Can Be Confident of Turing Test Capability Within a Quarter Century George Cybenko, The Future Trajectory of AI Charles J. Holland, DARPA's Perspective === AI and Games === Jonathan Schaeffer, Games as a Test-bed for Artificial Intelligence Research Danny Kopec, Chess and AI Shay Bushinsky, Principle Positions in Deep Junior's Development === Future Interactions with Intelligent Machines === Daniela Rus, Making Bodies Smart Sherry Turkle, From Building Intelligences to Nurturing Sensibilities === Selected Submitted Papers: Future Strategies for AI === J. Storrs Hall, Self-improving AI: An Analysis Selmer Bringsjord, The Logicist Manifesto Vincent C. Müller, Is There a Future for AI Without Representation? Kristinn R. Thórisson, Integrated A.I. Systems === Selected Submitted Papers: Future Possibilities for AI === Eric Steinhart, Survival as a Digital Ghost Colin T. A. Schmidt, Did You Leave That 'Contraption' Alone With Your Little Sister? Michael Anderson & Susan Leigh Anderson, The Status of Machine Ethics Marcello Guarini, Computation, Coherence, and Ethical Reasoning

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  Digital fashion

  Digital fashion is a field of fashion design that relies on 3D software or artificial intelligence to produce hyper-realistic, data-intensive digital 3D garment simulations that are digital-only products or digital models for physical products. Digital garments can be worn and presented in virtual environments, social media, online gaming, virtual reality (VR), and augmented reality (AR) platforms. The field aims to contribute to the development of a more sustainable future for the fashion industry. It has been praised as a possible answer to ethical and creative concerns of traditional fashion by promoting innovation, reducing waste, and encouraging conscious consumption. However, empirical research has questioned whether digital fashion communities embody the radical and anti-consumerist values they claim. A 2025 study presented by YeSeung Lee at the FACTUM international conference on fashion communication analysed 88,141 posts across nine platforms over eight months using Pulsar. It found that only 4.8% of author biographies indicated any sociopolitical focus, and that discourse predominantly relied on generic slogans and trending buzzwords, primarily reinforcing existing fashion hierarchies and consumerist frameworks rather than challenging them. Digital fashion is also the interplay between digital technology and couture. Human AI is an intersection of technology and human representation, in which human value is emphasized and enhanced by technology and the possibilities of discovering design. Information and communication technologies (ICTs) have been deeply integrated both into the fashion industry, as well as within the experience of clients and prospects. Such interplay has happened at three main levels. ICTs are used to design and produce fashion products, while the industry organization also leverages digital technologies. ICTs impact marketing, distribution and sales. ICTs are extensively used in communication activities with all relevant stakeholders and contribute to co-create the fashion world. The fashion industry in general has paved the way for digital fashion to be introduced with more technology being in the industry, like virtual dressing rooms and the gamification of the fashion industry. Digital fashion is also seen on many different online fashion retail websites. This evolution in the fashion industry has called for more education and research of digital fashion. == Design, production, and organization == Among the many applications available to fashion designers to model the fusion of creativity with digital avenues, the Digital Textile Printing can be mentioned here. === Digital textile printing === Digital textile printing has brought together the worlds of fashion, technology, art, chemistry, and printing to produce a new process for printing textiles on clothing. Digital printing is a process in which prints are directly applied to fabrics with a printer, reducing 95% of the use of water, 75% of the use of energy and minimizing textile waste. The main advantage of digital printing is the ability to do very small runs of each design (even less than 1 yard). Digital Textile printing also offers other benefits, such as fast printing speeds that help the time and space needed to print different patterns on garments of choice. == Marketing, distribution, and sales == While all digital channels can be used in order to market and sell fashion completely online (eCommerce), they usually are implemented in connection with offline channels (so-called "omni-channel"). Here, virtual and augmented reality play a crucial role. The fashion industry has faced its own problems including pollution and fabric waste, which has resulted in a shift to more sustainable methods like digital fashion. The industry is also constantly being intertwined with digital media and has allowed for the use of digital tools within the business itself and with consumers. Two of the ways digital fashion is utilized with consumers is through virtual dressing rooms and virtual cosmetic counters. Prospects and clients can use ICTs - own computers, tablets and smartphones - to virtually simulate fitting rooms and cosmetics counters and see how they look in specific outfits and makeup. Customers can give any look and decide on what suits them and buy products. Oftentimes, beauty retailers will feature virtual fitting rooms to allow users to experience the look of their product before committing to a purchase. Some examples are color contact retailers Freshlook, which allows users to simulate contact lens wear in their color contacts studio before purchase. Colorful Eyes also offers a virtual color contact lens try-on room. === Virtual dressing room === A virtual dressing room (also often referred to as virtual fitting room and virtual changing room although they do perform different functions) is the online equivalent of the near-ubiquitous in-store changing room – that is, it enables shoppers to try on clothes to check one or more of size, fit or style, but virtually rather than physically. Fashion retailer Topshop installed a Kinect-powered virtual fitting room at its Moscow store. Created by AR Door, the Augmented Fitting Room system overlays 3D augmented reality clothes on the customer. Simple gestures and on-screen buttons let users "try on" different outfits. However, the high variability of virtual fit platforms to predict consumer clothes sizes called into question the accuracy of these systems in their current form. AI-powered Wardrobe and Outfit Planning Beyond virtual fitting rooms, the integration of artificial intelligence has enabled the rise of digital wardrobe management. These platforms use computer vision and machine learning to catalog a user’s physical or digital garments, providing automated outfit recommendations based on weather, occasion, and personal style trends. Fashion-tech startups utilize AI-driven garment simulation to help users plan outfits virtually, bridging the gap between digital-only fashion and physical wardrobe utility. This "smart closet" approach aims to reduce "wardrobe fatigue" and decrease unnecessary consumption by maximizing the use of existing items through digital visualization. === Communication and experience co-creation === Fashion is also a matter of socially negotiating what is "in" or "out", fashionable or not. In other words, fashion items do not only play on the economic market of physical goods but also - and sometimes even more importantly - on the semiotic market of the production of social tastes and customs. Thanks to social media, and to all services offered by the so-called web2.0, laypeople can contribute to co-create the fashion world, shaping tastes, customs, and fashion-related values. Social media, in general, has catapulted the impact fashion has on our everyday lives and values. Fashion has taken a central role in mass production and is constantly evolving due to the ever-lasting digital transformation. Social media has also helped evolve to a point where not only can brands reach consumers, but consumers can reach brands as well. TikTok for example started a trend in 2020 with #GucciModelChallenge. This creates a space where the brand is gaining awareness from their consumers in the ever-changing digital age. === Gamification === Gaming has played an important role in fostering digital aspects of the fashion world, first beginning with dress-up games that used avatars and allowed players to select garments. Nevertheless, it seems it will now move on to the real world and start using avatars of real people. Garments from luxurious brands have been copied and adapted into the aesthetics of games such as Animal Crossing: New Horizons and The Sims. As to the former, during COVID-19 lock-downs players recreated outfits from a variety of fashion brands, including Chanel, Gucci and Versace. It became a platform for users to showcase their costume designs. In April 2019, Moschino collaborated with simulation game The Sims in a capsule collection that featured signature Jeremy Scott garments. The collection was made available to shop and the campaign was set against the backdrop of a Sims-like atmosphere. Furthermore, in May 2019, Nike partnered up with Fortnite to include their iconic Jordan sneakers. In similar fashion, in May 2020, Marc Jacobs designed 6 of the brand's favorite looks for Nintendo's Animal Crossing: New Horizons in a partnership with Instagram user @AnimalCrossingFashionArchive. They were made available to download. Similarly, the other luxury brands mentioned, Louis Vuitton partnered with game League of Legends to create skins for characters within the game. Digital fashion in different video games allows users to express themselves beyond their avatars and combine the self-expression of fashion into the digital gaming realm. == Digital fashion education and research == Nowadays, the fashion industry needs experts in digital fashion, equipped with the above-ske

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  SAP BTP

  SAP Business Technology Platform (SAP BTP) is a platform as a service developed by SAP SE that offers a suite of services including database and data management, AI, analytics, application development, automation and integration all running on one unified platform. == Overview == SAP BTP is made up of four components: Application development and automation: to create applications or extend existing applications. Data and analytics: to access and analyze data across SAP and third-party systems using multi-cloud architecture. Integration: to integrate and connect applications and data. Artificial Intelligence (AI): to access large language models (LLMs) to develop AI. == History == SAP BTP was introduced as part of the SAP strategy to unify its portfolio and cloud offerings under a single platform. The platform was evolved from earlier initiatives such as SAP Cloud Platform and now serves as the central hub for cloud, data, analytics, integration and AI technologies. Initially unveiled as "SAP NetWeaver Cloud" belonging to the SAP HANA Cloud portfolio on October 16, 2012 the cloud platform was reintroduced with the new name "SAP HANA Cloud Platform" on May 13, 2013 as the foundation for SAP cloud products, including the SAP BusinessObjects Cloud. Adoption of the SAP HANA Cloud Platform in 2015 stood at over 4000 customers and 500 partners. In 2016, SAP and Apple Inc. partnered to develop mobile applications on iOS using cloud-based software development kits (SDKs) for the SAP Cloud Platform. On February 27, 2017, SAP HANA Cloud Platform was renamed "SAP Cloud Platform" at the Mobile World Congress. On January 18, 2021, the name "SAP Cloud Platform" was retired from the SAP product portfolio to support SAP BTP. As of October 2024, SAP states that SAP BTP is used by more than 27,000 customers and more than 2,800 partners. Recently, SAP Business One has worked on improving the functionalities of BTP to cater for the demands of digital transformation. The platform offers comprehensive services in AI, application development, automation, integration, data management, and analytics.

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  Galatea (video game)

  Galatea is an interactive fiction video game by Emily Short featuring a modern rendition of the Greek myth of Galatea, the sculpture of a woman that gained life. It took "Best of Show" in the 2000 IF Art Show and won a XYZZY Award for Best non-player character. The game displays an unusually rich approach to non-player character dialogue and diverts from the typical puzzle-solving in interactive fiction: gameplay consists entirely of interacting with a single character in a single room. Galatea is licensed under the Creative Commons BY-NC-ND 3.0 US license. == Gameplay == Galatea alters the typical interactive fiction game mechanics by concentrating instead on the player's interactions with a single non-player character (NPC), the eponymous Galatea. Much of the interest of the piece derives from the ambiguous nature of the player–NPC dialogue: the form of the conversation and, indeed, the nature of Galatea herself shift depending on the focus the player places on certain aspects of the character's personality. Numerous endings are possible. Gameplay centers around the developing dialogue between Galatea and the player when asking about topics in the previous conversation. Two commands, "think about" and "recap", are provided to keep track of what has already been said; the former is also used to advance the storyline, as the player character draws conclusions about the story as it has unfolded to that point. The game also encourages using sensory commands ("touch", "listen to", "look at"), adding immersion to the experience. == Plot == Galatea is loosely based on the myth of Pygmalion, who carved the sculpture of a woman. In the myth, he falls in love with the statue, named Galatea or Elise in different versions, and the goddess Venus brings her to life. The story begins at the opening of an exhibition of artificial intelligences. The player, alone, discovers Galatea displayed on a pedestal with a small information placard. She is illuminated by a spotlight and wears an emerald dress. Seeing the player about to turn away, Galatea says, "They told me you were coming." From this point, the story may proceed in a number of ways depending on the player's words and actions. === Multilinear interactive fiction === Short describes this as "multilinear interactive fiction": while interactive fiction in general allows the player to find their own way through the story, this leads in most cases to a single ending (or at least a single desired 'correct' ending). With Galatea, Short presents a story with around 70 different endings and hundreds of possible ways of reaching them. The plot is thus designed to appear open-ended with the development of the story entirely dependent on what the player decides to talk or ask about or what actions they choose to perform. Thus the original author and the player share in the creation of a work of fiction. == Development == In interviews, Emily Short has explained that Galatea arose out of her efforts to develop advanced dialog coding for interactive fiction engines. Although code for simple conversational programs like ELIZA have existed since the 1960s, and limited dialog options have existed in interactive fiction since the 1970s, Short's efforts to develop chatterbot-like dialog required her to produce a simple test case scenario to test NPC interaction. Thus the single-room, single-occupant Galatea was a natural result. Development of the game progressed organically with Short engaging in test runs and drafting new dialog options for every conversational dead-end that arose. The game's multiple endings also arose in a similar fashion although Short had intended that there be multiple endings from the start. Although the nature of the game's development as well as its minimalist final form has led to questions regarding whether it is really a game and not just an experimental conversational program, Short has suggested that to her the definition of interactive fiction requires nothing more than a world model and a parser, and "anything you can cook up with those features counts as IF." Short has acknowledged the helpful influence of the close-knit IF community and the "atmosphere in which experimentation is valued" as leading to the success of her works like Galatea. == Reception == Galatea was well received, achieving critical acclaim from interactive fiction reviewers and literary scholars. The game is considered to aspire to a new level of art in interactive fiction, and thereby to have revolutionized the genre, establishing its author, Emily Short, as one of the key figures in the modern interactive fiction scene. Fellow award-winning IF author, Adam Cadre has called Galatea "the best NPC ever"—a view that was echoed by Joystiq's John Bardinelli. Cadre also describes the game as an example of an alternative kind of puzzle where "interactivity comes in deciding where to go, what to see, what to say. Rather than having to open gates along a path, you discover that they're all open at first, but stepping through one causes others to close." Galatea was described in 2007 by Indiegames.com as a "fascinating journey." In a 2009 article, Rock, Paper, Shotgun praised the depth and detail of the game, the complexities of the character design and its "masterful balance between intricacy and simplicity", and "Galatea's emotional turmoil" that is "encoded sweetly into the subtext of what's going on. By simply interacting in a logical manner, you learn more about this character than any cut-scene or info-dump could ever hope to convey." This was reiterated in a 2010 1UP.com article that listed Galatea as #2 in its "Top 5 Introductory Interactive Fiction Games" feature, describing it as intriguingly replayable, and as a "surprisingly rich game for its apparent minimalism". In 2011, PC Gamer highlighted Galatea as an example of the artistic and literary aspects of the interactive fiction genre. The titular character, Galatea, has been compared to the 2007 Portal character GLaDOS due to similarities in the personalities of the characters.

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  Semantic Scholar

  Semantic Scholar is a research tool for scientific literature. It is developed at the Allen Institute for AI and was publicly released in November 2015. Semantic Scholar uses modern techniques in natural language processing to support the research process, for example by providing automatically generated summaries of scholarly papers. The Semantic Scholar team is actively researching the use of artificial intelligence in natural language processing, machine learning, human–computer interaction, and information retrieval. Semantic Scholar began as a database for the topics of computer science, geoscience, and neuroscience. In 2017, the system began including biomedical literature in its corpus. As of September 2022, it includes over 200 million publications from all fields of science. == Technology == Semantic Scholar provides a one-sentence summary of scientific literature. One of its aims was to address the challenge of reading numerous titles and lengthy abstracts on mobile devices. It also seeks to ensure that the three million scientific papers published yearly reach readers, since it is estimated that only half of this literature is ever read. Artificial intelligence is used to capture the essence of a paper, generating it through an "abstractive" technique. The project uses a combination of machine learning, natural language processing, and machine vision to add a layer of semantic analysis to the traditional methods of citation analysis, and to extract relevant figures, tables, entities, and venues from papers. Another key AI-powered feature is Research Feeds, an adaptive research recommender that uses AI to quickly learn what papers users care about reading and recommends the latest research to help scholars stay up to date. It uses a paper embedding model trained using contrastive learning to find papers similar to those in each Library folder. Semantic Scholar also offers Semantic Reader, an augmented reader with the potential to revolutionize scientific reading by making it more accessible and richly contextual. Semantic Reader provides in-line citation cards that allow users to see citations with TLDR (short for Too Long, Didn't Read) automatically generated short summaries as they read and skimming highlights that capture key points of a paper so users can digest faster. In contrast with Google Scholar and PubMed, Semantic Scholar is designed to highlight the most important and influential elements of a paper. The AI technology is designed to identify hidden connections and links between research topics. Like the previously cited search engines, Semantic Scholar also exploits graph structures, which include the Microsoft Academic Knowledge Graph, Springer Nature's SciGraph, and the Semantic Scholar Corpus (originally a 45 million papers corpus in computer science, neuroscience and biomedicine). == Article identifier == Each paper hosted by Semantic Scholar is assigned a unique identifier called the Semantic Scholar Corpus ID (abbreviated S2CID). The following entry is an example: Liu, Ying; Gayle, Albert A; Wilder-Smith, Annelies; Rocklöv, Joacim (March 2020). "The reproductive number of COVID-19 is higher compared to SARS coronavirus". Journal of Travel Medicine. 27 (2). doi:10.1093/jtm/taaa021. PMID 32052846. S2CID 211099356. == Indexing == Semantic Scholar is free to use and unlike similar search engines (e.g., Google Scholar) does not search for material that is behind a paywall. One study compared the index scope of Semantic Scholar to Google Scholar, and found that for the papers cited by secondary studies in computer science, the two indices had comparable coverage, each only missing a handful of the papers. == Number of users and publications == As of January 2018, following a 2017 project that added biomedical papers and topic summaries, the Semantic Scholar corpus included more than 40 million papers from computer science and biomedicine. In March 2018, Doug Raymond, who developed machine learning initiatives for the Amazon Alexa platform, was hired to lead the Semantic Scholar project. As of August 2019, the number of included papers metadata (not the actual PDFs) had grown to more than 173 million after the addition of the Microsoft Academic Graph records. In 2020, a partnership between Semantic Scholar and the University of Chicago Press Journals made all articles published under the University of Chicago Press available in the Semantic Scholar corpus. At the end of 2020, Semantic Scholar had indexed 190 million papers. In 2020, Semantic Scholar reached seven million users per month.

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  Split Up (expert system)

  Split Up is an intelligent decision support system, which makes predictions about the distribution of marital property following divorce in Australia. It is designed to assist judges, registrars of the Family Court of Australia, mediators and lawyers. Split Up operates as a hybrid system, combining rule – based reasoning with neural network theory. Rule based reasoning operates within strict parameters, in the form: IF < condition(s) > then . Neural networks, by contrast, are considered to be better suited to generate decisions in uncertain domains, since they can be taught to weigh the factors considered by judicial decision makers from case data. Yet, they do not provide an explanation for the conclusions they reach. Split_up, with a view to overcome this flaw, uses argument structures proposed by Toulmin as the basis for representations from which explanations can be generated. == Application == In Australian family law, a judge in determining the distribution of property will: identify the assets of the marriage included in the common pool establish what percentage of the common pool each party will receive determine a final property order in line with the decisions made in 1. and 2. Split_Up implements step 1 and 2 : the common pool determination and the prediction of a percentage split. === The common pool determination === Since the determination of marital property is rule based, it is implemented using directed graphs. However, the percentage split between the parties is discretionary in that a judge has a wide discretion to look at each party's contributions to the marriage under section 79(4) of the Family Law Act 1975. Broadly, the contributions can be taken as financial or non-financial. The party who can demonstrate a larger contribution to the marital relationship will receive a larger proportion of the assets. The court may further look at each party's financial resources and future needs under section 75(2)of the Family Law Act 1975. These needs can include factors such as the inability to gain employment, the continued care of a child under 18 years of age or medical expenses. This means that different judges may and will reach different conclusions based on the same facts, since each judge assigns different relevant weights to each factor. Split_up determines the percentage split by using a combination of rule- based reasoning and neural networks. === The percentage split determination === In order to determine how judges weigh the different factors, 103 written judgements of commonplace cases were used to establish a database comprising 94 relevant factors for percentage split determination. The factors relevant for a percentage split determination are: Past contributions of a husband relative to those of a wife The husband's future needs relative to those of the wife The wealth of the marriage The factors relevant for a determination of past contributions are The relative direct and indirect contributions of both parties The length of the marriage The relative contributions of both parties to the homemaking role The hierarchy provides a structure that is used to decompose the task of predicting an outcome into 35 subtasks. Outputs of tasks further down the hierarchy are used as inputs into sub-tasks higher up the hierarchy. Each sub-task is treated as a separate and smaller data mining exercise. Twenty one solid arcs represent inferences performed with the use of rule sets. For example, the level of wealth of a marriage is determined by a rule, which uses the common pool value. By contrast, the fourteen dashed arcs establish inferences performed with the use of neural networks. These receive their name from the fact that they resemble a nervous system in the brain. They consist of many self – adjusting processing elements cooperating in a densely interconnected network. Each processing element generates a single output that is transmitted to the other processing element. The output signal of a processing element depends on the input to the processing element, i.e. each input is gated by a weighting factor that determines the amount of influence that the input will have on the output. The strength of the weighting factors is adjusted autonomously by the processing element as the data is processed. In Split_Up, the neural network is a statistical technique for learning the weights of each of the relevant attributes used in a percentage split determination of marital property. Hence the inputs to the neural network are contributions, future needs and wealth, and the output the percentage split predicted. On each arc there is a statistical weight. Using back propagation the neural network learns the necessary pattern to recognize the prediction. It is trained by repeatedly exposing it to examples of the problem and learning the significance (weights) of the input nodes. The neural network used by Split_up is said to generalise well if the output of the network is correct (or nearly correct) for examples not seen during training, which classifies it as an intelligent system. === Toulmin Argument Structure === Since the manner in which these weights are learned is primarily statistical, domain knowledge of legal rules and principles is not modelled directly. However, explanations for a legal conclusion in a domain as discretionary as the determining the distribution of property following divorce, are at least as important as the conclusion reached. Hence the creators of Split_Up used Toulmin Argument structures, to provide independent explanations of the conclusions reached. These operate on the basis that every argument makes an assertion based on some data. The assertion of the argument stands as the claim of the argument. Since knowing the data and the claim, does not necessarily mean that the claim follows from the data, a mechanism is required to justify the claim in the light of the data. The justification is known as the warrant. The backing of an argument supports the validity of the warrant. In the legal domain, this is typically a reference to a statute or a precedent. Here, a neural network (or rules), produce a conclusion from the data of an argument and the data, warrant and backing are reproduced to generate an explanation. It is noteworthy, though, that an argument's warrant is reproduced as an explanation regardless of the claim values used. This lack of claim - sensitivity must be overcome by the different users, i.e., the judge, the representatives for the wife and the representatives for the husband, each of whom is encouraged to use the system to prepare their cases, but not to rely exclusively on its outcome.

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  Amazon Elastic Compute Cloud

  Amazon Elastic Compute Cloud (EC2) is a part of Amazon's cloud-computing platform, Amazon Web Services (AWS), that allows users to rent virtual computers on which to run their own computer applications. EC2 encourages scalable deployment of applications by providing a web service through which a user can boot an Amazon Machine Image (AMI) to configure a virtual machine, which Amazon calls an "instance", containing any software desired. A user can create, launch, and terminate server-instances as needed, paying by the second for active servers – hence the term "elastic". EC2 provides users with control over the geographical location of instances that allows for latency optimization and high levels of redundancy. In November 2010, Amazon switched its own retail website platform to EC2 and AWS. == History == Amazon announced a limited public beta test of EC2 on August 25, 2006, offering access on a first-come, first-served basis. Amazon added two new instance types (Large and Extra-Large) on October 16, 2007. On May 29, 2008, two more types were added, High-CPU Medium and High-CPU Extra Large. There were twelve types of instances available. Amazon added three new features on March 27, 2008: static IP addresses, availability zones, and user-selectable kernels. On August 20, 2008, Amazon added Elastic Block Store (EBS). This provides persistent storage, a feature that had been lacking since the service was introduced. Amazon EC2 went into full production when it dropped the beta label on October 23, 2008. On the same day, Amazon announced the following features: a service level agreement for EC2, Microsoft Windows in beta form on EC2, Microsoft SQL Server in beta form on EC2, plans for an AWS management console, and plans for load balancing, autoscaling, and cloud monitoring services. These features were subsequently added on May 18, 2009. Amazon EC2 was developed mostly by a team in Cape Town, South Africa led by Chris Pinkham. Pinkham provided the initial architecture guidance for EC2 and then built the team and led the development of the project along with Willem van Biljon. == Instance types == Initially, EC2 used Xen virtualization exclusively. However, on November 6, 2017, Amazon announced the new C5 family of instances that were based on a custom architecture around the KVM hypervisor, called Nitro. Each virtual machine, called an "instance", functions as a virtual private server. Amazon sizes instances based on "Elastic Compute Units". The performance of otherwise identical virtual machines may vary. On November 28, 2017, AWS announced a bare-metal instance, a departure from exclusively offering virtualized instance types. As of January 2019, the following instance types were offered: General Purpose: A1, T3, T2, M5, M5a, M4, T3a Compute Optimized: C5, C5n, C4 Memory Optimized: R5, R5a, R4, X1e, X1, High Memory, z1d Accelerated Computing: P3, P2, G3, F1 Storage Optimized: H1, I3, D2 As of April 2018, the following payment methods by instance were offered: On-demand: pay by the hour without commitment. Reserved: rent instances with one-time payment receiving discounts on the hourly charge. Spot: bid-based service: runs the jobs only if the spot price is below the bid specified by bidder. The spot price is claimed to be supply-demand based, however a 2011 study concluded that the price was generally not set to clear the market, but was dominated by an undisclosed reserve price. In 2025, AWS expanded EC2 with the compute-optimized C8gn family, powered by Graviton4 and offering up to 600 Gbit/s network bandwidth (about 30% higher compute performance than C7gn), and introduced G6f fractional-GPU instances that let customers provision one-eighth, one-quarter, or one-half of an NVIDIA L4 GPU for right-sized graphics/ML workloads. === Cost === As of April 2018, Amazon charged about $0.0058 per hour ($4.176 per month) for the smallest "Nano Instance" (t2.nano) virtual machine running Linux or Windows. Storage-optimized instances cost as much as $4.992 per hour (i3.16xlarge). "Reserved" instances can go as low as $2.50 per month for a three-year prepaid plan. The data transfer charge ranges from free to $0.12 per gigabyte, depending on the direction and monthly volume (inbound data transfer is free on all AWS services). EC2 costs can be analyzed using the Amazon Cost and Usage Report. There are many different cost categories for EC2 including: hourly Instance Charges, Data Transfer, EBS Volumes, EBS Volume Snapshots, and Nat Gateway. === Free tier === As of December 2010 Amazon offered a bundle of free resource credits to new account holders. The credits are designed to run a "micro" sized server, storage (EBS), and bandwidth for one year. Unused credits cannot be carried over from one month to the next. === Reserved instances === Reserved instances enable EC2 or RDS service users to reserve an instance for one or three years. The corresponding hourly rate charged by Amazon to operate the instance is 35 to 75% lower than the rate charged for on-demand instances. Reserved instances can be purchased with three different payment options: All Upfront, Partial Upfront and No Upfront. The different purchase options allow for different structuring of payment models, with a larger discount given to customers that pay their reservation upfront. Reserved Instances are purchased based on a resource commitment. These reservations are made based on an instance type and a count of that instance type. For example, you could reserve 100 i3.large instances for a 3-year term. In September 2016, AWS announced several enhancements to Reserved instances, introducing a new feature called scope and a new reservation type called a Convertible. In October 2017, AWS announced the allowance to subdivide the instances purchased for more flexibility. === Spot instances === Cloud providers maintain large amounts of excess capacity they have to sell or risk incurring losses. Amazon EC2 Spot instances are spare compute capacity in the AWS cloud available at up to 90% discount compared to On-Demand prices. As a trade-off, AWS offers no SLA on these instances and customers take the risk that it can be interrupted with only two minutes of notification when Amazon needs the capacity back. Researchers from the Israeli Institute of Technology found that "they (Spot instances) are typically generated at random from within a tight price interval via a dynamic hidden reserve price". Some companies, like Spotinst, are using machine learning to predict spot interruptions up to 15 minutes in advance. === Savings Plans === In November 2019, Amazon announced Savings Plans. Savings Plans are an alternative to Reserved Instances that come in two different plan types: Compute Savings Plans and EC2 Instances Savings Plans. Compute Savings Plans allow an organization to commit to EC2 and Fargate usage with the freedom to change region, family, size, availability zone, OS and tenancy inside the lifespan of the commitment. EC2 Instance Savings plans provide a larger discount than Compute Savings Plans but are less flexible meaning a user must commit to individual instance families within a region to take advantage, but with the freedom to change instances within the family in that region. AWS uses the Cost Explorer to automatically calculate recommendations for the commitments you should make how that commitment will look like as a monthly charge on your AWS bill. AWS Savings Plans are purchased based on hourly spend commitment. This hourly commitment is made using the discounted pricing of the savings plan you are purchasing. For example, you could commit to spending $5 per hour, on a Compute Savings Plan, for a 3-year term. == Features == === Operating systems === When it launched in August 2006, the EC2 service offered Linux and later Sun Microsystems' OpenSolaris and Solaris Express Community Edition. In October 2008, EC2 added the Windows Server 2003 and Windows Server 2008 operating systems to the list of available operating systems. In March 2011, NetBSD AMIs became available. In November 2012, Windows Server 2012 support was added. Since 2006, Colin Percival, a FreeBSD developer and Security Officer, solicited Amazon to add FreeBSD. In November 2012, Amazon officially supported running FreeBSD in EC2. The FreeBSD/EC2 platform is maintained by Percival who also developed the secure deduplicating Amazon S3-cloud based backup service Tarsnap. Amazon has their own Linux distribution based on Fedora and Red Hat Enterprise Linux as a low cost offering known as the Amazon Linux AMI. Version 2013.03 included: Linux kernel, Java OpenJDK Runtime Environment and GNU Compiler Collection. On November 30, 2020, Amazon announced that it would be adding macOS to the EC2 service. Initial support was announced for macOS Mojave and macOS Catalina running on Mac Mini. === Managed Container and Kubernetes Services === Amazon Elastic Container Registry (ECR) is a Docker registry service for Amazon EC2

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  R.U.R.

  R.U.R. is a 1920 science fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové. It introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. became influential soon after its publication. By 1923, it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society. == Characters == Parentheses indicate names which vary according to translation. On the meaning of the names, see Ivan Klíma: Karel Čapek: Life and Work (2002). == Plot == === Synopsis === The play begins in a factory that makes artificial workers from synthetic organic matter. (As living creatures of artificial flesh and blood, that later terminology would call androids, the playwright's 'roboti' differ from later fictional and scientific concepts of inorganic constructs.) Robots may be mistaken for humans but have no original thoughts. Though most are content to work for humans, eventually a rebellion causes the extinction of the human race. === Prologue (Act I in the Selver translation) === Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. Here, she meets Domin, the General Manager of R.U.R., who relates to her the history of the company. Rossum had come to the island in 1920 to study marine biology. In 1932, Rossum had invented a substance like organic matter, though with a different chemical composition. He argued with his nephew about their motivations for creating artificial life. While the elder wanted to create animals to prove or disprove the existence of God, his nephew only wanted to become rich. Young Rossum finally locked away his uncle in a lab to play with the monstrosities he had created and created thousands of robots. By the time the play takes place (circa the year 2000), robots are cheap and available all over the world. They have become essential for industry. After meeting the heads of R.U.R., Helena reveals that she is a representative of the League of Humanity, an organization that wishes to liberate the robots. The managers of the factory find this absurd. They see robots as appliances. Helena asks that the robots be paid, but according to R.U.R. management, the robots do not "like" anything. Eventually Helena is convinced that the League of Humanity is a waste of money, but still argues robots have a "soul". Later, Domin confesses that he loves Helena and forces her into an engagement. === Act I (Act II in Selver) === Ten years have passed. Helena and her nurse Nana discuss current events, the decline in human births in particular. Helena and Domin reminisce about the day they met and summarize the last ten years of world history, which has been shaped by the new worldwide robot-based economy. Helena meets Dr. Gall's new experiment, Radius. Dr. Gall describes his experimental robotess, also named Helena. Both are more advanced, fully-featured robots. In secret, Helena burns the formula required to create robots. The revolt of the robots reaches Rossum's island as the act ends. === Act II (Act III in Selver) === The characters sense that the very universality of the robots presents a danger. Echoing the story of the Tower of Babel, the characters discuss whether creating national robots who were unable to communicate beyond their languages would have been a good idea. As robot forces lay siege to the factory, Helena reveals she has burned the formula necessary to make new robots. The characters lament the end of humanity and defend their actions, despite the fact that their imminent deaths are a direct result of their choices. Busman is killed while attempting to negotiate a peace with the robots. The robots storm the factory and kill all the humans except for Alquist, the company's Clerk of the Works (Head of Construction). The robots spare him because they recognize that "He works with his hands like a robot. He builds houses. He can work." === Act III (Epilogue in Selver) === Years have passed. Alquist, who still lives, attempts to recreate the formula that Helena destroyed. He is a mechanical engineer, though, with insufficient knowledge of biochemistry, so he has made little progress. The robot government has searched for surviving humans to help Alquist and found none alive. Officials from the robot government beg him to complete the formula, even if it means he will have to kill and dissect other robots for it. Alquist yields. He will kill and dissect robots, thus completing the circle of violence begun in Act Two. Alquist is disgusted. Robot Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist now realizes that Primus and Helena are the new Adam and Eve, and gives the charge of the world to them. == Čapek's conception of robots == The robots described in Čapek's play are not robots in the popularly understood sense of an automaton. They are not mechanical devices, but rather artificial biological organisms that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess: His robots resemble more modern conceptions of man-made life forms, such as the Replicants in Blade Runner, the "hosts" in the Westworld TV series and the humanoid Cylons in the re-imagined Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the robots themselves are assembled like automobiles. Čapek's robots are living biological beings, but they are still assembled, as opposed to grown or born. One critic has described Čapek's robots as epitomizing "the traumatic transformation of modern society by the First World War and the Fordist assembly line". === Origin of the word robot === The play introduced the word robot, which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny, Karel Čapek named his brother Josef as the true inventor of the word. In Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands and is derived from rab, meaning "slave". The name Rossum is an allusion to the Czech word rozum, meaning "reason", "wisdom", "intellect" or "common sense". It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason" but only the Majer/Porter version translates the word as "Reason". == Production history and translations == The work was published in two differing versions in Prague by Aventinum, first in 1920, followed by a revised version in 1921. After being postponed, it premiered at the city's National Theatre on 25 January 1921, although an amateur group had by then already presented a production. By 1921, Paul Selver translated either the original 1920 edition of R.U.R. or a manuscript copy close to this version into English. He probably translated the play freelance, and sold it to St Martin's Theatre in London. Selver's translation was adapted for the British stage by Nigel Playfair in 1922, but it was not produced straight away. Later that year performance rights for the U.S. and Canada were sold to the New York Theatre Guild, perhaps during Lawrence Langner's visit to Britain. Playfair's version included several changes to Čapek's original play, such as renaming the acts (the prologue became act one, and the heavily abridged final act became the epilogue), omitting around sixty lines (including most of Alquist's final speech), adding several more lines, and removing the robot character Damon (giving his lines to Radius). The omission of some lines may have been censorship from the Lord Chamberlain's Office, or self-censorship in anticipation of this, while some other changes might have been made by Čapek himself if Selver was working from a manuscript copy. An edition of Playfair's adaptation was published by the Oxford University Press in 1923, and Selver went on to write a satiric novel One, Two, Three (1926) based on his experiences getting R.U.R. staged. The American première was produced by the Theatre Guild at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances. In the first performance, Domin was portrayed by Basil Sydney,

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  Defuzzification

  Defuzzification is the process of producing a quantifiable result in crisp logic, given fuzzy sets and corresponding membership degrees. It is the process that maps a fuzzy set to a crisp set. It is typically needed in fuzzy control systems. These systems will have a number of rules that transform a number of variables into a fuzzy result, that is, the result is described in terms of membership in fuzzy sets. For example, rules designed to decide how much pressure to apply might result in "Decrease Pressure (15%), Maintain Pressure (34%), Increase Pressure (72%)". Defuzzification is interpreting the membership degrees of the fuzzy sets into a specific decision or real value. The simplest but least useful defuzzification method is to choose the set with the highest membership, in this case, "Increase Pressure" since it has a 72% membership, and ignore the others, and convert this 72% to some number. The problem with this approach is that it loses information. The rules that called for decreasing or maintaining pressure might as well have not been there in this case. A common and useful defuzzification technique is center of gravity. First, the results of the rules must be added together in some way. The most typical fuzzy set membership function has the graph of a triangle. Now, if this triangle were to be cut in a straight horizontal line somewhere between the top and the bottom, and the top portion were to be removed, the remaining portion forms a trapezoid. The first step of defuzzification typically "chops off" parts of the graphs to form trapezoids (or other shapes if the initial shapes were not triangles). For example, if the output has "Decrease Pressure (15%)", then this triangle will be cut 15% the way up from the bottom. In the most common technique, all of these trapezoids are then superimposed one upon another, forming a single geometric shape. Then, the centroid of this shape, called the fuzzy centroid, is calculated. The x coordinate of the centroid is the defuzzified value. == Methods == There are many different methods of defuzzification available, including the following: AI (adaptive integration) BADD (basic defuzzification distributions) BOA (bisector of area) CDD (constraint decision defuzzification) COA (center of area) COG (center of gravity) ECOA (extended center of area) EQM (extended quality method) FCD (fuzzy clustering defuzzification) FM (fuzzy mean) FOM (first of maximum) GLSD (generalized level set defuzzification) ICOG (indexed center of gravity) IV (influence value) LOM (last of maximum) MeOM (mean of maxima) MOM (middle of maximum) QM (quality method) RCOM (random choice of maximum) SLIDE (semi-linear defuzzification) WFM (weighted fuzzy mean) The maxima methods are good candidates for fuzzy reasoning systems. The distribution methods and the area methods exhibit the property of continuity that makes them suitable for fuzzy controllers.

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