AI Art Filter

AI Art Filter — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Autonomous things

  Autonomous things, abbreviated AuT, or the Internet of autonomous things, abbreviated as IoAT, is an emerging term for the technological developments that are expected to bring computers into the physical environment as autonomous entities without human direction, freely moving and interacting with humans and other objects. Self-navigating drones are the first AuT technology in (limited) deployment. It is expected that the first mass-deployment of AuT technologies will be the autonomous car, generally expected to be available around 2020. Other currently expected AuT technologies include home robotics (e.g., machines that provide care for the elderly, infirm or young), and military robots (air, land or sea autonomous machines with information-collection or target-attack capabilities). AuT technologies share many common traits, which justify the common notation. They are all based on recent breakthroughs in the domains of (deep) machine learning and artificial intelligence. They all require extensive and prompt regulatory developments to specify the requirements from them and to license and manage their deployment (see the further reading below). And they all require unprecedented levels of safety (e.g., automobile safety) and security, to overcome concerns about the potential negative impact of the new technology. As an example, the autonomous car both addresses the main existing safety issues and creates new issues. It is expected to be much safer than existing vehicles, by eliminating the single most dangerous element – the driver. The US's National Highway Traffic Safety Administration estimates 94 percent of US accidents were the result of human error and poor decision-making, including speeding and impaired driving, and the Center for Internet and Society at Stanford Law School claims that "Some ninety percent of motor vehicle crashes are caused at least in part by human error". So while safety standards like the ISO 26262 specify the required safety, there is still a burden on the industry to demonstrate acceptable safety. While car accidents claim every year 35,000 lives in the US, and 1.25 million worldwide, some believe that even "a car that's 10 times as safe, which means 3,500 people die on the roads each year [in the US alone]" would not be accepted by the public. The acceptable level may be closer to the current figures on aviation accidents and incidents, with under a thousand worldwide deaths in most years – three orders of magnitude lower than cars. This underscores the unprecedented nature of the safety requirements that will need to be met for cars, with similar levels of safety expected for other Autonomous Things.

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  List of artificial intelligence artists

  Many notable artificial intelligence artists have created a wide variety of artificial intelligence art from the 1960s to today. These include: == 20th century == Harold Cohen, active from 1960s to 2010s. Cohen's work is primarily with AARON, a series of computer programs that autonomously create original images. Eric Millikin, active from 1980s to present. Millikin's work includes AI-generated virtual reality, video art, poetry, music, and performance art, on topics such as animal rights, climate change, anti-racism, witchcraft, and the occult. Karl Sims, active from 1980s to present. Sims is best known for using particle systems and artificial life in computer animation. == 21st century == Refik Anadol, active from 2010s to present. Anadol's work includes video installations based on generative algorithms with artificial intelligence. Sougwen Chung, active from 2010s to present. Chung's work includes performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. Stephanie Dinkins, active from 2010s to present. Dinkins' work includes recordings of conversations with an artificially intelligent robot that resembles a black woman, discussing topics such as race and the nature of being. Jake Elwes, active from 2010s to present. Their practice is the exploration of artificial intelligence, queer theory and technical biases. Libby Heaney, active from 2010s to present. Heaney's practice includes work with chatbots. Mario Klingemann, active from 2010s to present. Klingemann's works examine creativity, culture, and perception through machine learning and artificial intelligence. Mauro Martino, active from 2010s to present. Martino's work includes design, data visualization and infographics. Trevor Paglen, active from 2000s to present. Paglen's practice includes work in photography and geography, on topics like mass surveillance and data collection. Anna Ridler, active from 2010s to present. Ridler works with collections of information, including self-generated data sets, often working with floral photography.

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  AI Snake Oil

  AI Snake Oil: What Artificial Intelligence Can Do, What It Can't, and How to Tell the Difference is a 2024 non-fiction book written by scholars Arvind Narayanan and Sayash Kapoor. It is a critique of the tech industry's overly inflated promises and capabilities of artificial intelligence (AI) as well as a debunking of the flawed science fueling AI hype while attempting to outline both the potential positives and negatives that come with different modes of the technology. == Contents == === Publication === The book was published in September 2024 by the Princeton University Press. AI Snake Oil consists of 360 pages and features eight chapters, and sections for acknowledgements, references, and an index. An updated edition with a new preface and epilogue by the authors was published in September 2025. The authors use the term "AI snake oil" derived from the U.S. idiom for a fraudulent remedy, to describe overhyped AI systems. === Chapter one: Introduction === Narayanan and Kapoor argue that many individuals do not yet have the literacy to detect functioning aspects of AI compared to potential snake oil, which they identify as "AI that does not and cannot work as advertised". Some of the major examples utilized by the authors include Allstate's 2013 use of predictive AI, as well as the concern surrounding actors and AI attempting to replicate or use their likeness. Important discussions regarding discrimination are brought up and explored in the first chapter, including the false arrests of six Black individuals due to errors with AI facial recognition tools. The chapter concludes with a comparison to the Industrial Revolution, where Narayanan and Kapoor highlight the extensive human labour that is necessary for artificial intelligence technologies to function. === Chapter two: How Predictive AI Goes Wrong === Chapter two focuses on predictive artificial intelligence, and criticizes the overestimation of the capabilities of the technology. === Chapter three: Why Can't AI Predict the Future? === Chapter three works to inform the reader about the history of early computational prediction attempts, with examples from companies like Simulatics. === Chapter four: The Long Road to Generative AI === The fourth chapter goes in more in-depth in explorations of generative AI. Generative AI software examples include ChatGPT, Midjourney, and DALL-E. The section begins with a positive example of generative AI. As the chapter progresses, the authors begin to provide examples of harm produced by generative AI, including the suicide of a Belgian man after connecting with Chai, a generative chatbot. Issues of deepfakes and preservation of artistic property are also discussed. The use of generative AI to create non-consensual pornographic deepfake content is discussed in relation to female celebrities. === Chapter five: Is Advanced AI an Existential Threat? === The fifth chapter draws attention the AGI, or Artificial General Intelligence. The authors describe AGI as "AI that can perform most or economically relevant tasks as effectively as any human". They summarize that many contributors to the field of artificial intelligence believe AGI to be an impending threat that demands attention. However, they argue that the perceived threat of AGI would only exist if the technology continually functioned reliably. In order to better illustrate the hype surrounding AGI, Narayanan and Kapoor use the Ladder of Generality, which is described as a visual tool in which "each rung represents a way of computing that is more flexible, and more general, than the previous one". They note that we are not yet aware of the next rungs on the ladder, or if the ladder will eventually result in a dead end. The rungs that have been identified so far are as follows: (0, or floor) special purpose hardware, (1) programmable computers, (2) stored program computers, (3) machine learning, (4) deep learning, (5) pretrained models, and, finally, (6) instruction-tuned models. The potential for future rungs and what those rungs might be are currently undetermined. The chapter also discusses the ELIZA effect, which Lawrence Switzky discusses in his article "ELIZA Effects". Switzky attributes the coined term ELIZA Effect to Sherry Turke, who defined it as "our more general tendency to treat responsive computer programs as more intelligent than they really are". === Chapter six: Why Can't AI Fix Social Media? === The sixth chapter focuses on content moderation, why it is important, and how it has been and could be affected by artificial automation. The first issue raised in regard to AI-driven content moderation is the inability for computers and machines to understand context and nuance, resulting in potential for discriminatory moderation and shadow banning. While they note that there are issues with automating content moderation, Narayanan and Kapoor also highlight the psychological impact on human content moderators and their labour. They indicate the hidden labour behind moderation, which is often outsourced to less developed countries, where labourers sort through potentially traumatizing content for pay. However, the discussion focuses more heavily on why automated moderation can be problematic, including discriminatory algorithms and lack of nuance. To balance their argument, issues of discrimination and bias are also discussed in relation the human content moderators. To automate moderation, there are two types of AI used, which are fingerprint matching and machine learning. === Chapter seven: Why Do Myths about AI Persist? === The seventh chapter outlines possible factors that contribute to hype surrounding AI. Narayanan and Kapoor explain how companies often promote their new AI models without properly disclosing how the model works, and what it is learning from. They attribute hype to several different groups, including journalists, researchers, and companies. They explain the impact of companies and the misplaced hype that they spread can be attributed to greed and a desire to grow corporate funds. For journalists, one of the stated sources of hype, they argue that news media has a tendency to prioritize financial incentives over validity and quality of writing. As well, Narayanan and Kapoor point out the emergence of company statement regurgitation in news media, leading to clickbait. Hype from researchers is potentially linked to lack of reproducibility in studies as well as leakage, which occurs when AI models are tested on their training data. === Chapter eight: Where do we go from here? === The final chapter, chapter eight, turns its attention to the future. The authors express their ideas and predictions for how the technology will evolve and be utilized in the upcoming years. == Authors == Author Narayanan is a computer science professor at Princeton University. Kapoor is a doctoral candidate at the same university, and both scholars are located at the Center for Information Technology at Princeton. In 2023, Narayanan and Kapoor appeared on the TIME100 Artificial Intelligence list, which features influential figures in the field. == Reception == Nature, a science and technology peer-reviewed journal, released an article highlighting the top "10 essential reads from the past year", listing Arvind Narayanan and Sayash Kapoor's AI Snake Oil. The article states the that text is "one of the best on this controversial subject". Elizabeth Quill, in her review of the text in Science News, writes that the authors "squarely achieve their stated goal: to empower people to distinguish AI that works well from AI snake oil". Joshua Rothman of The New Yorker writes that "compared with many technologists, Narayanan, Kapoor, and Vallor [Shannon Vallor, University of Edinburgh], are deeply skeptical about today's A.I. technology and what it can achieve. Perhaps they shouldn't be". Rothman argues, following an interview with prominent computer scientist Geoffrey Hinton of University of Toronto, that the potential for AI to replicate complexity is already here and continues to be heavily funded, enhancing the prospective capabilities of the technology. However, he does praise the author's ability to address questions regarding the existential human experience. Alexya Martinez discusses the text in a book review for Journalism and Mass Communication Quarterly, critiquing AI Snake Oil for its extensive focus on the West. Martinez writes that Narayanan and Kapoor "do not fully explore how AI impacts other countries", and suggests more focus on countries outside of the United States to enhance their argument.

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  Deepfake

  Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med

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  Companion robot

  A companion robot is a robot created to create real or apparent companionship for human beings. Target markets for companion robots include the elderly and single children. Companions robots are expected to communicate with non-experts in a natural and intuitive way. They offer a variety of functions, such as monitoring the home remotely, communicating with people, or waking people up in the morning. Their aim is to perform a wide array of tasks including educational functions, home security, diary duties, entertainment and message delivery services, etc. The idea of companionship with robots has already existed on science fictions of 1970s, like R2-D2. Starting from the late 20th century, companion robots became a reality, mostly as robotic pets. Besides entertainment purposes, interactive robots were also introduced as a personal service robot for elderly care around 2000. == Characteristics == Companion robots try to interact with users. They gather information about users based on their interactions and yield feedback. This procedure varies slightly based on their specific roles. For example, social-companion robots make simple conversations, while pet-companion robots mimic being real pets. == Types == Companion robots can perform a variety of tasks and they are produced in a specialized manner according to their purpose or target audience in order to increase convenience and end user satisfaction. === Social companion robots === Social companion robots are designed to provide companionship and be a solution for unwanted solitude. They often mimic adult human, child or pet behaviours appealing to the user base. Robots which are specifically devised for simple conversations, conveying emotions and respond to user feelings fall under this category. === Assistive companion robots === Assistive companion robots are aimed at people who require constant care because of age, disability or rehabilitation purposes. Such robots can help disadvantaged users with their daily tasks, act as reminders (e.g., for regular medication) and facilitate mobility in everyday actions. Assistive companion robots reduce the intensity of labour that should be performed by caretakers, nurses and legal guardians. === Educational companion robots === Educational companion robots perform tutorship for students, regardless of their ages, and can teach desired subjects with activities tailored for the user such as interactive assignments and games. Rather than replacing teachers and instructors, educational companion robots are aides to them. === Therapeutic companion robots === Designed for individuals coping with stress (PTSD in severe cases), anxiety and loneliness; therapeutic companion robots support users' emotional and mental wellbeing. Such robots can be utilized in hospitals and care facilities as well as dwellings where the distressed user may need the most help. Therapeutic companion robots bear a vast resemblance to assistive companion robots to the extent of being a branch of them; the nuance between these two types of companion robots is that the former is for long-term/lifetime usage while the latter is mostly for the duration of the therapy received by the user. === Pet companion robots === Pet companion robots are for individuals who seek an alternative to live pets as live animals demand a considerable amount of care and may not be eligible for people with allergies. These robots aim to be perfect imitations of a pet while diminishing the chore aspect of having one. === Entertainment companion robots === Entertainment companion robots are designed solely for entertainment and can provide numerous ways of entertainment, ranging from dancing to playing games with the user. People who would appreciate an individual to have fun with are the main audience of such products. === Personal assistant robots === Personal assistant robots help people with daily tasks, management, scheduling, reminding etc. Their area of activity can be offices as well as homes and public spaces. === Sex robots === Sex robots are anthropomorphic robotic sex dolls that have human-like movement or behavior, and some degree of artificial intelligence. As of 2026, although elaborately instrumented sex dolls have been created by a number of inventors, no fully animated sex robots yet exist. Simple devices have been created which can speak, make facial expressions, or respond to touch. There is controversy as to whether developing them would be morally justifiable. In 2015, robot ethicist Kathleen Richardson called for a ban on the creation of anthropomorphic sex robots with concerns about normalizing relationships with machines and reinforcing female dehumanization. Questions about their ethics, effects, and possible legal regulations have been discussed since then. == Examples == There are several companion robot prototypes, and these include Paro, CompanionAble, and EmotiRob, among others. === Paro === Paro is a pet-type robot system developed by Japan's National Institute of Advanced Industrial Science and Technology (AIST). The robot, which looked like a small harp seal, was designed as a therapeutic tool for use in hospitals and nursing homes. The robot is programmed to cry for attention and respond to its name. Experiments showed that Paro facilitated elderly residents to communicate with each other, which led to psychological improvements. === CompanionAble === This robot is classified as an FP 7 EU project. It is built to "cooperate with Ambient Assistive Living environment". The autonomous device, which is also built to support the elderly, helps its owner interact with smart home environment as well as caregivers. The robot functions as a mobile friend, by which natural interaction is possible via speech and the touchscreen to detect and track people at home. === EmotiRob === EmotiRob is developed in a robotics project which is the continuity of the MAPH (Active Media For the Handicap) project in emotion synthesis. The aim of the project was to maintain emotional interaction with children. EmotiRob designed in a way that a child can hold it in a his/her arms and with which he/she could interact by talking to it, and then the robot would express itself through body postures or facial expressions. It has cognitive capabilities, which are further extended so that the robot can have a natural linguistic interaction with its owner through the DRAGON speech-recognition software developed by a company called NUANCE. Such interaction is expected to facilitate a child's cognitive development and develop new learning patterns. === LOVOT === Lovot is a Japanese company robot whose only purpose is "to make you happy". It features over 50 sensors that mimic the behavior of a human baby or small pet, a 360° camera with a microphone, the ability to distinguish humans from objects, neoteny eyes, and an internal warmth of 30° celsius. An interactive Lovot Café was opened in Japan October 3, 2020. === NICOBO === Nicobo was developed by Panasonic and was influenced by the loneliness of lockdowns created as a measure of the COVID-19 pandemic. It was designed to appear vulnerable, which creates empathy in its owners. Nicobo's name derives from the Japanese word for "smile". It wags its tail, engages in baby talk, and stays as a housemate. === Hyodol === Hyodol is an advanced care robot designed to support the elderly by reminding them to take their medications and monitoring their movements to keep their guardians informed. Additionally, this innovative robot can detect and respond to the emotional states of its elderly users, adding a layer of personalized care. Hyodol is designed with the appearance and speech style of a 7-year-old Korean grandchild, featuring a soft fabric exterior and user interaction methods such as striking the head or patting the back. It is equipped with various sensors and wireless communication technologies to collect and process data, supporting mobile apps and PC web monitoring systems for remote monitoring from anywhere. In South Korea, approximately 10,000 Hyodol robots are deployed to the homes of elderly individuals living alone, providing essential support and companionship. Local governments, including provincial and county offices, have embraced Hyodol as a solution to address social challenges stemming from the country's rapidly aging society.Furthermore, the robot is widely utilized in the treatment of dementia patients at a university hospital in Gangwon province. Hyodol was honored with the Mobile World Congress (MWC) Global Mobile Awards (GLOMO) in the "Best Mobile Innovation for Connected Health and Wellbeing" category on February 29, 2024. === Moxie === Moxie was a companion robot for autistic children developed by a company called Embodied. Although it had limited motion, it presented itself as a lifelike avatar. It was designed to help the children learn emotional cognition, using remotely hosted large language models to direct its respons

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  Deepfake

  Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med

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  Ensemble averaging (machine learning)

  In machine learning, ensemble averaging is the process of creating multiple models (typically artificial neural networks) and combining them to produce a desired output, as opposed to creating just one model. Ensembles of models often outperform individual models, as the various errors of the ensemble constituents "average out". == Overview == Ensemble averaging is one of the simplest types of committee machines. Along with boosting, it is one of the two major types of static committee machines. In contrast to standard neural network design, in which many networks are generated but only one is kept, ensemble averaging keeps the less satisfactory networks, but with less weight assigned to their outputs. The theory of ensemble averaging relies on two properties of artificial neural networks: In any network, the bias can be reduced at the cost of increased variance In a group of networks, the variance can be reduced at no cost to the bias. This is known as the bias–variance tradeoff. Ensemble averaging creates a group of networks, each with low bias and high variance, and combines them to form a new network which should theoretically exhibit low bias and low variance. Hence, this can be thought of as a resolution of the bias–variance tradeoff. The idea of combining experts can be traced back to Pierre-Simon Laplace. == Method == The theory mentioned above gives an obvious strategy: create a set of experts with low bias and high variance, and average them. Generally, what this means is to create a set of experts with varying parameters; frequently, these are the initial synaptic weights of a neural network, although other factors (such as learning rate, momentum, etc.) may also be varied. Some authors recommend against varying weight decay and early stopping. The steps are therefore: Generate N experts, each with their own initial parameters (these values are usually sampled randomly from a distribution) Train each expert separately Combine the experts and average their values. Alternatively, domain knowledge may be used to generate several classes of experts. An expert from each class is trained, and then combined. A more complex version of ensemble average views the final result not as a mere average of all the experts, but rather as a weighted sum. If each expert is y i {\displaystyle y_{i}} , then the overall result y ~ {\displaystyle {\tilde {y}}} can be defined as: y ~ ( x ; α ) = ∑ j = 1 p α j y j ( x ) {\displaystyle {\tilde {y}}(\mathbf {x} ;\mathbf {\alpha } )=\sum _{j=1}^{p}\alpha _{j}y_{j}(\mathbf {x} )} where α {\displaystyle \mathbf {\alpha } } is a set of weights. The optimization problem of finding alpha is readily solved through neural networks, hence a "meta-network" where each "neuron" is in fact an entire neural network can be trained, and the synaptic weights of the final network is the weight applied to each expert. This is known as a linear combination of experts. It can be seen that most forms of neural network are some subset of a linear combination: the standard neural net (where only one expert is used) is simply a linear combination with all α j = 0 {\displaystyle \alpha _{j}=0} and one α k = 1 {\displaystyle \alpha _{k}=1} . A raw average is where all α j {\displaystyle \alpha _{j}} are equal to some constant value, namely one over the total number of experts. A more recent ensemble averaging method is negative correlation learning, proposed by Y. Liu and X. Yao. This method has been widely used in evolutionary computing. == Benefits == The resulting committee is almost always less complex than a single network that would achieve the same level of performance The resulting committee can be trained more easily on smaller datasets The resulting committee often has improved performance over any single model The risk of overfitting is lessened, as there are fewer parameters (e.g. neural network weights) which need to be set.

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  International Conference on Automated Planning and Scheduling

  The International Conference on Automated Planning and Scheduling (ICAPS) is a leading international academic conference in automated planning and scheduling held annually for researchers and practitioners in planning and scheduling. ICAPS is supported by the National Science Foundation, the journal Artificial Intelligence, and other supporters. == The IPC and PDDL == ICAPS conducts the International Planning Competition (IPC), a competition scheduled every few years that empirically evaluates state-of-the-art planning systems on a collection of benchmark problems. The Planning Domain Definition Language (PDDL) was developed mainly to make the 1998/2000 International Planning Competition possible, and then evolved with each competition. PDDL is an attempt to standardize Artificial Intelligence (AI) planning languages. PDDL was first developed by Drew McDermott and his colleagues in 1998, inspired by STRIPS, ADL, and other sources. == History == The ICAPS conferences began in 2003 as a merge of two bi-annual conferences, the International Conference on Artificial Intelligence Planning and Scheduling (AIPS) and the European Conference on Planning (ECP). == List of events ==

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  Systems development life cycle

  The systems development life cycle (SDLC) describes the typical phases and progression between phases during the development of a computer-based system. These phases progress from inception to retirement. At base, there is just one life cycle, but the taxonomy used to describe it may vary; the cycle may be classified into different numbers of phases and various names may be used for those phases. The SDLC is analogous to the life cycle of a living organism from its birth to its death. In particular, the SDLC varies by system in much the same way that each living organism has a unique path through its life. The SDLC does not prescribe how engineers should go about their work to move the system through its life cycle. Prescriptive techniques are referred to using various terms such as methodology, model, framework, and formal process. Other terms are used for the same concept as SDLC, including software development life cycle (also SDLC), application development life cycle (ADLC), and system design life cycle (also SDLC). These other terms focus on a different scope of development and are associated with different prescriptive techniques, but are about the same essential life cycle. The term "life cycle" is often written without a space, as "lifecycle", with the former more popular in the past and in non-engineering contexts. The acronym SDLC was coined when the longer form was more popular and has remained associated with the expansion, even though the shorter form is popular in engineering. Also, SDLC is relatively unique as opposed to the TLA SDL, which is highly overloaded. == Phases == Depending on the source, the SDLC is described as having different phases and using different terms. Even so, there are common aspects. The following attempts to describe notable phases using notable terminology. The phases are somewhat ordered by the natural sequence of development, although they can be overlapping and iterative. === Conceptualization === During conceptualization (a.k.a. conceptual design, system investigation, feasibility), options and priorities are considered. A feasibility study can determine whether the development effort is worthwhile via activities such as understanding user needs, cost estimation, benefit analysis, and resource analysis. A study should address operational, financial, technical, human factors, and legal/political concerns. === Requirements analysis === Requirements analysis (a.k.a. preliminary design) involves understanding the problem and determining what is needed. Often this involves engaging users to define the requirements and recording them in a document known as a requirements specification. === Design === During the design phase (a.k.a. detail design), a solution is planned. The plan can include relatively high-level information such as describing the major components of the system. The plan can include relatively low-level information such as describing functions, screen layout, business rules, and process flow. The design phase is informed by the requirements of the system. The design must satisfy each requirement. The design may be recorded in textual documents as well as functional hierarchy diagrams, example screen images, business rules, process diagrams, pseudo-code, and data models. === Construction === During construction (a.k.a. implementation, production), the system is realized. Based on the design, hardware and software components are created and integrated. This phase includes testing sub-components, components and the integration of some components, but typically does not include testing at the complete system level. This phase may include the development of training materials, including user manuals and help files. === Acceptance === The acceptance phase (a.k.a. system testing) is about testing the complete system to ensure that it meets customer expectations (requirements). === Deployment === The deployment phase (a.k.a. implementation) involves the logistics of delivery to the customer. Some systems are deployed as a single instance (i.e. in the cloud), and deployment may be ad hoc and manual. Some systems are built in quantity and are associated with manufacturing process and commissioning. This phase may include training users to use the system. It may include transitioning future development to support staff. === Maintenance === During the maintenance phase (a.k.a. operation, utilization, support) development is largely inactive, although this phase does include customer support for resolving user issues and recording suggestions for improvement. Fixes and enhancements are handled by returning to the first phase, conceptualization. For minor changes, the cycle may be significantly abbreviated compared to initial development. === Decommission === Decommission (a.k.a. disposition, retirement, phase-out) is when the system is removed from use, i.e., when it reaches end-of-life. == Practices == === Management and control === SDLC phase objectives are described in this section with key deliverables, a description of recommended tasks, and a summary of related control objectives for effective management. It is critical for the project manager to establish and monitor control objectives while executing projects. Control objectives are clear statements of the desired result or purpose and should be defined and monitored throughout a project. Control objectives can be grouped into major categories (domains), and relate to the SDLC phases as shown in the figure. To manage and control a substantial SDLC initiative, a work breakdown structure (WBS) captures and schedules the work. The WBS and all programmatic material should be kept in the "project description" section of the project notebook. The project manager chooses a WBS format that best describes the project. The diagram shows that coverage spans numerous phases of the SDLC, but the associated MCD (Management Control Domains) shows mappings to SDLC phases. For example, Analysis and Design is primarily performed as part of the Acquisition and Implementation Domain, and System Build and Prototype is primarily performed as part of delivery and support. === Work breakdown structured organization === The upper section of the WBS provides an overview of the project scope and timeline. It should also summarize the major phases and milestones. The middle section is based on the SDLC phases. WBS elements consist of milestones and tasks to be completed rather than activities to be undertaken, and have a deadline. Each task has a measurable output (e.g., an analysis document). A WBS task may rely on one or more activities (e.g., coding). Parts of the project needing support from contractors should have a statement of work (SOW). The development of an SOW does not occur during a specific phase of SDLC but is developed to include the work from the SDLC process that may be conducted by contractors. === Baselines === Baselines are established after four of the five phases of the SDLC, and are critical to the iterative nature of the model. Baselines become milestones. functional baseline: established after the conceptual design phase. allocated baseline: established after the preliminary design phase. product baseline: established after the detailed design and development phase. updated product baseline: established after the production construction phase. In the following diagram, these stages are divided into ten steps, from definition to creation and modification of IT work products:

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  Batch normalization

  In artificial neural networks, batch normalization (also known as batch norm) is a normalization technique used to make training faster and more stable by adjusting the inputs to each layer—re-centering them around zero and re-scaling them to a standard size. It was introduced by Sergey Ioffe and Christian Szegedy in 2015. Experts still debate why batch normalization works so well. It was initially thought to tackle internal covariate shift, a problem where parameter initialization and changes in the distribution of the inputs of each layer affect the learning rate of the network. However, newer research suggests it doesn’t fix this shift but instead smooths the objective function—a mathematical guide the network follows to improve—enhancing performance. In very deep networks, batch normalization can initially cause a severe gradient explosion—where updates to the network grow uncontrollably large—but this is managed with shortcuts called skip connections in residual networks. Another theory is that batch normalization adjusts data by handling its size and path separately, speeding up training. == Internal covariate shift == Each layer in a neural network has inputs that follow a specific distribution, which shifts during training due to two main factors: the random starting values of the network’s settings (parameter initialization) and the natural variation in the input data. This shifting pattern affecting the inputs to the network’s inner layers is called internal covariate shift. While a strict definition isn’t fully agreed upon, experiments show that it involves changes in the means and variances of these inputs during training. Batch normalization was first developed to address internal covariate shift. During training, as the parameters of preceding layers adjust, the distribution of inputs to the current layer changes accordingly, such that the current layer needs to constantly readjust to new distributions. This issue is particularly severe in deep networks, because small changes in shallower hidden layers will be amplified as they propagate within the network, resulting in significant shift in deeper hidden layers. Batch normalization was proposed to reduced these unwanted shifts to speed up training and produce more reliable models. Beyond possibly tackling internal covariate shift, batch normalization offers several additional advantages. It allows the network to use a higher learning rate—a setting that controls how quickly the network learns—without causing problems like vanishing or exploding gradients, where updates become too small or too large. It also appears to have a regularizing effect, improving the network’s ability to generalize to new data, reducing the need for dropout, a technique used to prevent overfitting (when a model learns the training data too well and fails on new data). Additionally, networks using batch normalization are less sensitive to the choice of starting settings or learning rates, making them more robust and adaptable. == Procedures == === Transformation === In a neural network, batch normalization is achieved through a normalization step that fixes the means and variances of each layer's inputs. Ideally, the normalization would be conducted over the entire training set, but to use this step jointly with stochastic optimization methods, it is impractical to use the global information. Thus, normalization is restrained to each mini-batch in the training process. Let us use B to denote a mini-batch of size m of the entire training set. The empirical mean and variance of B could thus be denoted as μ B = 1 m ∑ i = 1 m x i {\displaystyle \mu _{B}={\frac {1}{m}}\sum _{i=1}^{m}x_{i}} and σ B 2 = 1 m ∑ i = 1 m ( x i − μ B ) 2 {\displaystyle \sigma _{B}^{2}={\frac {1}{m}}\sum _{i=1}^{m}(x_{i}-\mu _{B})^{2}} . For a layer of the network with d-dimensional input, x = ( x ( 1 ) , . . . , x ( d ) ) {\displaystyle x=(x^{(1)},...,x^{(d)})} , each dimension of its input is then normalized (i.e. re-centered and re-scaled) separately, x ^ i ( k ) = x i ( k ) − μ B ( k ) ( σ B ( k ) ) 2 + ϵ {\displaystyle {\hat {x}}_{i}^{(k)}={\frac {x_{i}^{(k)}-\mu _{B}^{(k)}}{\sqrt {\left(\sigma _{B}^{(k)}\right)^{2}+\epsilon }}}} , where k ∈ [ 1 , d ] {\displaystyle k\in [1,d]} and i ∈ [ 1 , m ] {\displaystyle i\in [1,m]} ; μ B ( k ) {\displaystyle \mu _{B}^{(k)}} and σ B ( k ) {\displaystyle \sigma _{B}^{(k)}} are the per-dimension mean and standard deviation, respectively. ϵ {\displaystyle \epsilon } is added in the denominator for numerical stability and is an arbitrarily small positive constant. The resulting normalized activation x ^ ( k ) {\displaystyle {\hat {x}}^{(k)}} have zero mean and unit variance, if ϵ {\displaystyle \epsilon } is not taken into account. To restore the representation power of the network, a transformation step then follows as y i ( k ) = γ ( k ) x ^ i ( k ) + β ( k ) {\displaystyle y_{i}^{(k)}=\gamma ^{(k)}{\hat {x}}_{i}^{(k)}+\beta ^{(k)}} , where the parameters γ ( k ) {\displaystyle \gamma ^{(k)}} and β ( k ) {\displaystyle \beta ^{(k)}} are subsequently learned in the optimization process. Formally, the operation that implements batch normalization is a transform B N γ ( k ) , β ( k ) : x 1... m ( k ) → y 1... m ( k ) {\displaystyle BN_{\gamma ^{(k)},\beta ^{(k)}}:x_{1...m}^{(k)}\rightarrow y_{1...m}^{(k)}} called the Batch Normalizing transform. The output of the BN transform y ( k ) = B N γ ( k ) , β ( k ) ( x ( k ) ) {\displaystyle y^{(k)}=BN_{\gamma ^{(k)},\beta ^{(k)}}(x^{(k)})} is then passed to other network layers, while the normalized output x ^ i ( k ) {\displaystyle {\hat {x}}_{i}^{(k)}} remains internal to the current layer. === Backpropagation === The described BN transform is a differentiable operation, and the gradient of the loss l {\displaystyle l} with respect to the different parameters can be computed directly with the chain rule. Specifically, ∂ l ∂ y i ( k ) {\displaystyle {\frac {\partial l}{\partial y_{i}^{(k)}}}} depends on the choice of activation function, and the gradient against other parameters could be expressed as a function of ∂ l ∂ y i ( k ) {\displaystyle {\frac {\partial l}{\partial y_{i}^{(k)}}}} : ∂ l ∂ x ^ i ( k ) = ∂ l ∂ y i ( k ) γ ( k ) {\displaystyle {\frac {\partial l}{\partial {\hat {x}}_{i}^{(k)}}}={\frac {\partial l}{\partial y_{i}^{(k)}}}\gamma ^{(k)}} , ∂ l ∂ γ ( k ) = ∑ i = 1 m ∂ l ∂ y i ( k ) x ^ i ( k ) {\displaystyle {\frac {\partial l}{\partial \gamma ^{(k)}}}=\sum _{i=1}^{m}{\frac {\partial l}{\partial y_{i}^{(k)}}}{\hat {x}}_{i}^{(k)}} , ∂ l ∂ β ( k ) = ∑ i = 1 m ∂ l ∂ y i ( k ) {\displaystyle {\frac {\partial l}{\partial \beta ^{(k)}}}=\sum _{i=1}^{m}{\frac {\partial l}{\partial y_{i}^{(k)}}}} , ∂ l ∂ σ B ( k ) 2 = ∑ i = 1 m ∂ l ∂ y i ( k ) ( x i ( k ) − μ B ( k ) ) ( − γ ( k ) 2 ( σ B ( k ) 2 + ϵ ) − 3 / 2 ) {\displaystyle {\frac {\partial l}{\partial \sigma _{B}^{(k)^{2}}}}=\sum _{i=1}^{m}{\frac {\partial l}{\partial y_{i}^{(k)}}}(x_{i}^{(k)}-\mu _{B}^{(k)})\left(-{\frac {\gamma ^{(k)}}{2}}(\sigma _{B}^{(k)^{2}}+\epsilon )^{-3/2}\right)} , ∂ l ∂ μ B ( k ) = ∑ i = 1 m ∂ l ∂ y i ( k ) − γ ( k ) σ B ( k ) 2 + ϵ + ∂ l ∂ σ B ( k ) 2 1 m ∑ i = 1 m ( − 2 ) ⋅ ( x i ( k ) − μ B ( k ) ) {\displaystyle {\frac {\partial l}{\partial \mu _{B}^{(k)}}}=\sum _{i=1}^{m}{\frac {\partial l}{\partial y_{i}^{(k)}}}{\frac {-\gamma ^{(k)}}{\sqrt {\sigma _{B}^{(k)^{2}}+\epsilon }}}+{\frac {\partial l}{\partial \sigma _{B}^{(k)^{2}}}}{\frac {1}{m}}\sum _{i=1}^{m}(-2)\cdot (x_{i}^{(k)}-\mu _{B}^{(k)})} , and ∂ l ∂ x i ( k ) = ∂ l ∂ x ^ i ( k ) 1 σ B ( k ) 2 + ϵ + ∂ l ∂ σ B ( k ) 2 2 ( x i ( k ) − μ B ( k ) ) m + ∂ l ∂ μ B ( k ) 1 m {\displaystyle {\frac {\partial l}{\partial x_{i}^{(k)}}}={\frac {\partial l}{\partial {\hat {x}}_{i}^{(k)}}}{\frac {1}{\sqrt {\sigma _{B}^{(k)^{2}}+\epsilon }}}+{\frac {\partial l}{\partial \sigma _{B}^{(k)^{2}}}}{\frac {2(x_{i}^{(k)}-\mu _{B}^{(k)})}{m}}+{\frac {\partial l}{\partial \mu _{B}^{(k)}}}{\frac {1}{m}}} . === Inference === During the training stage, the normalization steps depend on the mini-batches to ensure efficient and reliable training. However, in the inference stage, this dependence is not useful any more. Instead, the normalization step in this stage is computed with the population statistics such that the output could depend on the input in a deterministic manner. The population mean, E [ x ( k ) ] {\displaystyle E[x^{(k)}]} , and variance, Var ⁡ [ x ( k ) ] {\displaystyle \operatorname {Var} [x^{(k)}]} , are computed as: E [ x ( k ) ] = E B [ μ B ( k ) ] {\displaystyle E[x^{(k)}]=E_{B}[\mu _{B}^{(k)}]} , and Var ⁡ [ x ( k ) ] = m m − 1 E B [ ( σ B ( k ) ) 2 ] {\displaystyle \operatorname {Var} [x^{(k)}]={\frac {m}{m-1}}E_{B}[\left(\sigma _{B}^{(k)}\right)^{2}]} . The population statistics thus is a complete representation of the mini-batches. The BN transform in the inference step thus becomes y ( k ) = B N γ ( k ) , β ( k ) inf ( x ( k ) ) = γ ( k ) x ( k ) − E [ x ( k ) ] Var ⁡ [ x ( k ) ] + ϵ + β

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  Agent mining

  Agent mining is a research field that combines two areas of computer science: multiagent systems and data mining. It explores how intelligent computer agents can work together to discover, analyze, and learn from large amounts of data more effectively than traditional methods. == Historical context == The interaction and the integration between multiagent systems and data mining have a long history. The very early work on agent mining focused on agent-based knowledge discovery, agent-based distributed data mining, and agent-based distributed machine learning, and using data mining to enhance agent intelligence. The International Workshop on Agents and Data Mining Interaction has been held for more than 10 times, co-located with the International Conference on Autonomous Agents and Multi-Agent Systems. Several proceedings are available from Springer Lecture Notes in Computer Science.

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  Sunspring

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

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  Roposo

  Roposo is an Indian video-sharing social media service, owned by Glance, a subsidiary of InMobi. Roposo provides a space where users can share posts related to different topics like food, comedy, music, poetry, fashion and travel. It is a platform where people express visually with homemade videos and photos. The app offers a TV-like browsing experience with user-generated content on its channels. Users can also use editing tools on the platform and upload their content. == History == Established in July 2014 under Relevant E-solutions Pvt. Ltd., Roposo is the brainchild of three IIT Delhi alumni – Mayank Bhangadia, Avinash Saxena, and Kaushal Shubhank. Under Bhangadia's leadership, the company pivoted from a fashion-based network into a short-form video platform with AI-powered moderation, and its journey was featured as a Harvard Business Publishing case study. In November 2019, Roposo was acquired by InMobi's Glance Digital Experience Pvt. Ltd.(the mobile content platform and part of the InMobi Group). When the Chinese-owned video-sharing app TikTok was banned on 30 June 2020, the app saw a huge spike in users with several TikTok users registering on Roposo. == Technology == The open platform has some features such as a TV-like browsing, different channels, a chat feature that lets buyers and sellers converse directly through the platform, and creation tools such as an option to add voice-over, music and GIF stickers for videos and photos.

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  Orion's Arm

  The Orion's Arm Universe Project (OA) is a multi-authored online hard science fiction world-building project, first established in 2000 by M. Alan Kazlev, Donna Malcolm Hirsekorn, Bernd Helfert and Anders Sandberg and further co-authored by many people since. Anyone can contribute articles, stories, artwork, or music to the website. The first published Orion's Arm book, a collection of five novellas set within the OA universe, called Against a Diamond Sky, was released in September 2009. == Canon == The fictional setting of Orion's Arm takes place about 10,000 years in the future, where an interstellar civilization spread across thousands of light-years, with inhabited planets and space habitats. Its inhabitants range from humans to extensively modified human beings, including superhumans with advanced augmentations and internal AI systems, while most people exist as softwares. Engineered wormholes are used for interstellar travel and transport, although not for time travel. The setting also includes several alien civilizations and evidence of more advanced alien societies in the past. At its highest levels, directed human evolution has produced vast godlike beings linked across interstellar distances, capable of understanding and creating technologies beyond ordinary minds. == Reception == Orion's Arm has been reviewed in the role-playing magazine Knights of the Dinner Table, as well as on Boing Boing by transhumanist science fiction author Cory Doctorow. References to the Encyclopaedia Galactica have been made in a book on overcoming Librarian stereotypes. The Orion's Arm website has also been recommended in a children's teaching guide.

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  Emma Hart (computer scientist)

  Professor Emma Hart, FRSE (born 1967) is an English computer scientist known for her work in artificial immune systems (AIS), evolutionary computation and optimisation. She is a professor of computational intelligence at Edinburgh Napier University, editor-in-chief of the Journal of Evolutionary Computation (MIT Press), and D. Coordinator of the Future & Emerging Technologies (FET) Proactive Initiative, Fundamentals of Collective Adaptive Systems. == Early life and education == Hart was born in Middlesbrough, England in 1967. In 1990 she graduated from the University of Oxford with a first class BA(Hons) in Chemistry. She then continued her studies at the University of Edinburgh, graduating with an MSc in Artificial Intelligence in 1994, followed by a PhD that explored the use of immunology as an inspiration for computing, examining a range of techniques applied to optimization and data classification problems. Her dissertation was titled Immunology as a metaphor for computational information processing: Fact or fiction?, and her doctoral advisor was Peter Ross. == Career == In 2000 Hart took a position as a lecturer at Edinburgh Napier University, and was promoted to a Reader, Professor, and in 2008 Chair in Natural Computation. She is now director of the Centre of Algorithms, Visualisation and Evolving Systems (CAVES) group in the School of Computing. She continues to research in the area of developing novel bio-inspired techniques for solving a range of real-world optimisation and classification problems, as well as exploring the fundamental properties of immune-inspired computing through modelling and simulation. She is also involved in editorial activity and currently occupies the position of Editor-in-Chief of the Journal of Evolutionary Computation (MIT Press). Her interests lie in the area of bio-inspired computing, in particular artificial immune systems (AIS). She also undertakes research in three main areas: optimisation, self-organising/self-adaptive systems, and artificial intelligence. Hart is D. Coordinator of Fundamentals of Collective Adaptive Systems (FoCAS), a Future and Emerging Technologies Proactive Initiative funded by the European Commission under FP7. == Selected works == === Conference talks === Hart, Emma. "Lifelong learning in optimization (video)". 28th European Conference on Operational Research. The Association of European Operational Research Societies. Hart, Emma (December 2021). "Self-assembling robots and the potential of artificial evolution". TED talk 2021. === Journal articles === "An immune system approach to scheduling in changing environments". E.Hart, P.Ross. 1999. Proceedings of the 1st Annual Conference on Genetic and Evolutionary Computation (2), 1559–1566. "Exploiting the analogy between immunology and sparse distributed memories: A system for clustering non-stationary data". E.Hart, P.Ross. 2002. 1st International Conference on Artificial Immune Systems. "Evolutionary scheduling: A review". E Hart, P Ross, D Corne. 2005. Genetic Programming and Evolvable Machines 6(2), 191–220. DOI: https://doi.org/10.1007/s10710-005-7580-7 "Application areas of AIS: The past, the present and the future". E.Hart, J.Timmis. 2008. Applied soft computing 8(1), 191–201. DOI: https://doi.org/10.1016/j.asoc.2006.12.004 "Structure versus function: a topological perspective on immune networks". E.Hart, H.Bersini, F.Santos. 2010. Natural computing 9(3), 603–624. DOI: https://doi.org/10.1007/s11047-009-9138-8 "On the life-long learning capabilities of a nelli: A hyper-heuristic optimisation system". E.Hart, K.Sim. 2014. International Conference on Parallel Problem Solving from Nature, 282–291. DOI: https://doi.org/10.1007/978-3-319-10762-2_28 "A hyper-heuristic ensemble method for static job-shop scheduling". E.Hart, K.Sim. 2016. Evolutionary computation 24(4), 609-635. DOI: https://dx.doi.org/10.1162/EVCO_a_00183 == Awards and recognition == 2016, Featured article on Lifelong Learning in Optimisation, IFORS newsletter 2016, "A Combined Generative and Selective Hyper-heuristic for the Vehicle Routing Problem" presented at GECCO 2016 (Denver, USA), ACM 2016, "A Hybrid Parameter Control Approach Applied to a Diversity-based Multi-objective Memetic Algorithm for Frequency Assignment Problems" presented at WCCI 2016 (Vancouver, Canada), IEEE 2017, Keynote Speaker, 2017 International Joint Conference on Computational Intelligence 2018, Bronze Award in International Human-Competitive Awards (Humies), International Conference on Genetic and Evolutionary Computation, Kyoto Japan 2018, Nomination for best paper award, GECCO 18, Kyoto, Japan 2022, Elected Fellow of the Royal Society of Edinburgh

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