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  • Non-human

    Non-human

    Non-human (also spelled nonhuman) is any entity displaying some, but not enough, human characteristics to be considered a human. The term has been used in a variety of contexts and may refer to objects that have been developed with human intelligence, such as robots or vehicles. == Organisms == === Animal rights and personhood === In the animal rights movement, it is common to distinguish between "human animals" and "non-human animals". Participants in the animal rights movement generally recognize that non-human animals have some similar characteristics to those of human persons. For example, various non-human animals have been shown to register pain, compassion, memory, and some cognitive function. Some animal rights activists argue that the similarities between human and non-human animals justify giving non-human animals rights that human society has afforded to humans, such as the right to self-preservation, and some even wish for all non-human animals or at least those that bear a fully thinking and conscious mind, such as vertebrates and some invertebrates such as cephalopods, to be given a full right of personhood. === The non-human in philosophy === Contemporary philosophers have drawn on the work of Henri Bergson, Gilles Deleuze, Félix Guattari, and Claude Lévi-Strauss (among others) to suggest that the non-human poses epistemological and ontological problems for humanist and post-humanist ethics, and have linked the study of non-humans to materialist and ethological approaches to the study of society and culture. == Software and robots == The term non-human has been used to describe computer programs and robot-like devices that display some human-like characteristics. In both science fiction and in the real world, computer programs and robots have been built to perform tasks that require human-computer interactions in a manner that suggests sentience and compassion. There is increasing interest in the use of robots in nursing homes and to provide elder care. Computer programs have been used for years in schools to provide one-on-one education with children. The Tamagotchi toy required children to provide care, attention, and nourishment to keep it "alive".

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  • Theaitre

    Theaitre

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

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  • 2024 Bilderberg Conference

    2024 Bilderberg Conference

    The 2024 Bilderberg Conference was held between May 30–June 2, 2024 in Madrid, Spain at the Eurostars Suites Mirasierra hotel. The 2024 meeting was the 70th edition of the event. A Bilderberg Group press release stated that there were 131 participants from around 25 countries. Established in 1954 by Prince Bernhard of the Netherlands, Bilderberg conferences (or meetings) are an annual private gathering of the European and North American political and business elite. Events are attended by between 120 and 150 people each year invited by the Bilderberg Group's steering committee; including prominent politicians, CEOs, national security experts, academics and journalists. Several US presidents have attended the meetings before winning a presidential election. These politicians include Bill Clinton and Barack Obama. Bilderberg conferences operate under the Chatham House Rule, meaning that participants are sworn to secrecy and cannot disclose the identity or affiliation of any particular speaker. == Agenda == The key topics for discussion were announced on the Bilderberg website shortly before the meeting. These topics included: == Participants == A list of 131 participants was published on the Bilderberg website. This list may not be complete, as a source connected to the Bilderberg group told The Daily Telegraph in 2013 that some attendees do not have their names publicized. King Felipe VI of Spain was reported to have attended the meeting despite his name not being on the list.

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  • Eclipse Phase

    Eclipse Phase

    Eclipse Phase is a science fiction horror role-playing game with transhumanist themes. It was originally published by Catalyst Game Labs, and is now published by the game's creators, Posthuman Studios, and is released under a Creative Commons license. == Setting == Eclipse Phase is a science fiction horror role-playing game with transhumanist, post-apocalyptic, and conspiracy themes. The game is set after a World War III project to create artificial intelligence known as TITANs has gone rogue, resulting in the deaths of over 90% of the inhabitants of Earth. Earth is subsequently abandoned, and existing colonies throughout the Solar System are expanded to accommodate the refugees. The setting explores a spectrum of socioeconomic systems in each of these colonies: A capitalist / republican system exists in the Inner System (Mars, the Moon, and Mercury), under the Planetary Consortium, a corporate body which allows the election of representatives but whose shareholders are nominally most powerful. An Extropian/Propertarian system is established in the Asteroid Belt. The Extropians are split into two subfactions, an anarcho-capitalist group, more closely related to the Hypercapitalists, and a mutualist group, related closely to the Anarchists. A military oligarchy rules the moons around Jupiter. An alliance of Scandinavia-style social democracy and Collectivist anarchism are dominant in the Outer System. From there, the setting explores various scientific advances, extrapolated far into the future. Nanotechnology, terraforming, Zero-G living, upgrading animal sapience, and reputation systems are all used as plot points and background. With all of this, the game encourages players to confront existential threats like aliens, weapons of mass destruction, Exsurgent Virus outbreaks, and political unrest. == Mechanics == Eclipse Phase uses a simple roll-under percentile die system for task resolution. Unlike most percentile systems, a roll of 00 does not count as a 100. In addition, any roll of a double (11, 22, 33 etc.) is a critical. If the double is under the target number it is a critical success, while being over the target number constitutes a critical failure. For damage resolution (whether physical damage caused by injury or mental stress caused by traumatic events), players roll a designated number of ten-sided dice and add the values together, along with any modifiers. == Books == === Publications === Eclipse Phase (Core Rulebook) (2009) ISBN 978-0-9845835-0-8 GM Screen (2010) Sunward, Boyle, Rob; Knevitt, James (2010). Sunward : the inner system, a location sourcebook for Eclipse Phase. UK: Cubicle 7. ISBN 978-0984583522. Gatecrashing Boyle, Rob; Graham, Jack; Rosenberg, Aaron (2011). Gatecrashing. UK: Cubicle 7. ISBN 978-0984583539. Panopticon Volume 1: Habitats, Surveillance, Uplifts (2011) (2011) Rimward (2012) Transhuman: The Eclipse Phase Player’s Guide (2013) Firewall (2015) X-Risks (2016) Eclipse Phase (Core Rulebook, Second Edition) (2019) === Nano Ops === Nano Op: Grinder Nano Op: All That Glitters Nano Op: Better on the Inside Nano Op: Binge Nano Op: Body Count == Creative Commons License == The Eclipse Phase roleplaying game was released under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 license, and newer printings have updated to the Creative Commons Attribution-Noncommercial-Share Alike 4.0 license; the text found on the Eclipse Phase website is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. As stated on their website, the publishers encourage players and gamemasters to recreate, alter, and "remix" the material for non-commercial purposes as long as Posthuman Studios is attributed, and any derivatives are licensed under the same Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Further, copying and sharing the game's electronic versions non-commercially is legal. == Reception == In 2010, it won the 36th Annual Origins award for Best Roleplaying Game of 2009. It also won three 2010 ENnie awards: Gold for Best Writing, Silver for Best Cover Art, and Silver for Product of the Year.

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  • Stencil buffer

    Stencil buffer

    A stencil buffer is an extra data buffer, in addition to the color buffer and Z-buffer, found on modern graphics hardware. The buffer is per pixel and works on integer values, usually with a depth of one byte per pixel. The Z-buffer and stencil buffer often share the same area in the RAM of the graphics hardware. In the simplest case, the stencil buffer is used to limit the area of rendering (stenciling). More advanced usage of the stencil buffer makes use of the strong connection between the Z-buffer and the stencil buffer in the rendering pipeline. For example, stencil values can be automatically increased/decreased for every pixel that fails or passes the depth test. The simple combination of depth test and stencil modifiers make a vast number of effects possible (such as stencil shadow volumes, Two-Sided Stencil, compositing, decaling, dissolves, fades, swipes, silhouettes, outline drawing, or highlighting of intersections between complex primitives) though they often require several rendering passes and, therefore, can put a heavy load on the graphics hardware. The most typical application is still to add shadows to 3D applications. It is also used for planar reflections. Other rendering techniques, such as portal rendering, use the stencil buffer in other ways; for example, it can be used to find the area of the screen obscured by a portal and re-render those pixels correctly. The stencil buffer and its modifiers can be accessed in computer graphics by using APIs like OpenGL, Direct3D, Vulkan or Metal. == Architecture == The stencil buffer typically shares the same memory space as the Z-buffer, and typically the ratio is 24 bits for Z-buffer + 8 bits for stencil buffer or, in the past, 15 bits for Z-buffer + 1 bit for stencil buffer. Another variant is 4 + 24, where 28 of the 32 bits are used and 4 ignored. Stencil and Z-buffers are part of the frame buffer, coupled to the color buffer. The first chip available to a wider market was 3Dlabs' Permedia II, which supported a one-bit stencil buffer. The bits allocated to the stencil buffer can be used to represent numerical values in the range [0, 2n-1], and also as a Boolean matrix (n is the number of allocated bits), each of which may be used to control the particular part of the scene. Any combination of these two ways of using the available memory is also possible. == Stencil test == Stencil test or stenciling is among the operations on the pixels/fragments (Per-pixel operations), located after the alpha test, and before the depth test. The stencil test ensures undesired pixels do not reach the depth test. This saves processing time for the scene. Similarly, the alpha test can prevent corresponding pixels to reach the stencil test. The test itself is carried out over the stencil buffer to some value in it, or altered or used it, and carried out through the so-called stencil function and stencil operations. The stencil function is a function by which the stencil value of a certain pixel is compared to a given reference value. If this comparison is logically true, the stencil test passes. Otherwise not. In doing so, the possible reaction caused by the result of comparing three different state-depth and stencil buffer: Stencil test is not passed Stencil test is passed but not the depth test Both tests are passed (or stencil test is passed, and the depth is not enabled) For each of these cases, different operations can be set over the examined pixel. In the OpenGL stencil functions, the reference value and mask, respectively, define the function glStencilFunc. In Direct3D each of these components is adjusted individually using methods SetRenderState devices currently in control. This method expects two parameters, the first of which is a condition that is set and the other its value. In the order that was used above, these conditions are called D3DRS_STENCILFUNC, D3DRS_STENCILREF, and D3DRS_STENCILMASK. Stencil operations in OpenGL adjust glStencilOp function that expects three values. In Direct3D, again, each state sets a specific method SetRenderState. The three states that can be assigned to surgery are called D3DRS_STENCILFAIL, D3DRENDERSTATE_STENCILZFAIL, and D3DRENDERSTATE_STENCILPASS. == Z-fighting == Due to the lack of precision in the Z-buffer, coplanar polygons that are short-range, or overlapping, can be portrayed as a single plane with a multitude of irregular cross-sections. These sections can vary depending on the camera position and other parameters and are rapidly changing. This is called Z-fighting. There exist multiple solutions to this issue: - Bring the far plane closer to restrict the scene's depth, thus increasing the accuracy of the Z-buffer, or reducing the distance at which objects are visible in the scene. - Increase the number of bits allocated to the Z-buffer, which is possible at the expense of memory for the stencil buffer. - Move polygons farther apart from one another, which restricts the possibilities for the artist to create an elaborate scene. All of these approaches to the problem can only reduce the likelihood that the polygons will experience Z-fighting, and do not guarantee a definitive solution in the general case. A solution that includes the stencil buffer is based on the knowledge of which polygon should be in front of the others. The silhouette of the front polygon is drawn into the stencil buffer. After that, the rest of the scene can be rendered only where the silhouette is negative, and so will not clash with the front polygon. == Shadow volume == Shadow volume is a technique used in 3D computer graphics to add shadows to a rendered scene. They were first proposed by Frank Crow in 1977 as the geometry describing the 3D shape of the region occluded from a light source. A shadow volume divides the virtual world in two: areas that are in shadow and areas that are not. The stencil buffer implementation of shadow volumes is generally considered among the most practical general-purpose real-time shadowing techniques for use on modern 3D graphics hardware. It has been popularised by the video game Doom 3, and a particular variation of the technique used in this game has become known as Carmack's Reverse. == Reflections == Reflection of a scene is drawn as the scene itself transformed and reflected relative to the "mirror" plane, which requires multiple render passes and using of stencil buffer to restrict areas where the current render pass works: Draw the scene excluding mirror areas – for each mirror lock the Z-buffer and color buffer Render visible part of the mirror Depth test is set up so that each pixel is passed to enter the maximum value and always passes for each mirror: Depth test is set so that it passes only if the distance of a pixel is less than the current (default behavior) The matrix transformation is changed to reflect the scene relative to the mirror plane Unlock the Z-buffer and color buffer Draw the scene, but only the part of it that lies between the mirror plane and the camera. In other words, a mirror plane is also a clipping plane Again locks color buffer, depth test is set so that it always passes, reset stencil for the next mirror. == Planar Shadows == While drawing a plane of shadows, there are two dominant problems: The first concerns the problem of deep struggle in case the flat geometry is not awarded on the part covered with the shadow of shadows and outside. See the section that relates to this. Another problem relates to the extent of the shadows outside the area where the plane there. Another problem, which may or may not appear, depending on the technique, the design of more polygons in one part of the shadow, resulting in darker and lighter parts of the same shade. All three problems can be solved geometrically, but because of the possibility that hardware acceleration is directly used, it is a far more elegant implementation using the stencil buffer: 1. Enable lights and the lights 2. Draw a scene without any polygon that should be projected shadows 3. Draw all polygons which should be projected shadows, but without lights. In doing so, the stencil buffer, the pixel of each polygon to be assigned to a specific value for the ground to which they belong. The distance between these values should be at least two, because for each plane to be used two values for two states: in the shadows and bright. 4. Disable any global illumination (to ensure that the next steps will affect only individual selected light) For each plane: For each light: 1. Edit a stencil buffer and only the pixels that carry a specific value for the selected level. Increase the value of all the pixels that are projected objects between the date of a given level and bright. 2. Allow only selected light for him to draw level at which part of her specific value was not changed. == Spatial shadows == Stencil buffer implementation of spatial drawing shadows is any shadow of a geometric body that its volume includes part of the scene that is

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  • TCEC Season 14

    TCEC Season 14

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

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  • List of artificial intelligence artists

    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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  • Multi Autonomous Ground-robotic International Challenge

    Multi Autonomous Ground-robotic International Challenge

    The Multi Autonomous Ground-robotic International Challenge (MAGIC) is a 1.6 million dollar prize competition for autonomous mobile robots funded by TARDEC and the DSTO, the primary research organizations for Tank and Defense research in the United States and Australia respectively. The goal of the competition is to create multi-vehicle robotic teams that can execute an intelligence, surveillance and reconnaissance mission in a dynamic urban environment. The challenge required competitors to map a 500 m x 500 m challenge area in under 3.5 hours and to correctly locate, classify and recognise all simulated threats. The challenge event was conducted in Adelaide, Australia, during November 2010. == Competitors == Initially 12 teams were selected for the competition in November 2009, of which 10 teams received funding. These included: MAGICian – Adelaide/Perth, Australia (UWA, ECU, Flinders, Thales) Strategic Engineering – Adelaide, Australia (U. Adelaide) Northern Hunters – Canada (Royal Military College of Canada) Chiba Team – Japan (Chiba University) Cappadocia – Ankara, Turkey (ASELSAN, Ohio State University) RASR – Gaithersburg, Md. (Robotics Research, LLC; QinetiQ; Embry-Riddle Aeronautical University) Team Cornell – US (Cornell University) Team Michigan – Ann Arbor, Mich. (University of Michigan) Virginia Tech – US (Virginia Tech) University of Pennsylvania – Philadelphia (University of Pennsylvania) Numinence – Brisbane, Australia (Numinence Pty Ltd, La Trobe University) UNSW – Sydney, Australia (UNSW) The first downselection trial required teams to map an indoor area and outdoor area, and to demonstrate distributing and handing over tasks between robots. During the first downselection trial, the top six teams were selected: Cappadocia – Ankara, Turkey MAGICian – Adelaide/Perth, Australia RASR – Gaithersburg, Md. Team Michigan – Ann Arbor, Mich. University of Pennsylvania – Philadelphia Chiba Team – Japan Before the finals were held, Chiba Team withdrew from the competition, leaving five competitors. == Event == Ultimately the overall goal of fully autonomous operations without human intervention was not achieved, however, the Secretary for Defence stated "The competing vehicles demonstrated new advances in robotics technology, which are very promising for their potential deployment in combat zones where they can replace our troops in carrying out life-threatening tasks" and considered the competition a success. == Results == The official results of the competition were: First – Team Michigan ($750,000 prize) Second – University of Pennsylvania ($250,000 prize) Third – RASR ($100,000 prize) Fourth – MAGICian & Cappadocia The "Old Ram Shed Challenge" was a single-day competition held after the completion of MAGIC. It was smaller in scale, allowing all of the teams to demonstrate their systems during a single day. The University of Pennsylvania won this challenge, having found a greater number of the target objects than the other teams. == Technology == Key technology used by all teams was computer vision, sensor fusion, human-robot interaction, and simultaneous localization and mapping (SLAM). Team Michigan, a collaboration between the University of Michigan's APRIL Lab and Soar Technology, Inc., had the largest fleet of 14 robots, developed their own Inertial Measurement Unit, and created their skid steer robot chassis out of Baltic birch plywood. Additionally, they had minimal reliance on GPS and used bandwidth limited 900 MHz radios for all telemetry, imaging, and status communications between all robots and the ground station. The code was written primarily in Java and each robot was equipped with an actuated 2D LIDAR, along with a unique 2D barcode for inter-robot recognition. The University of Pennsylvania team consisted of only four members. All code was written using Matlab. The robots were equipped with omnidirectional vision. RASR used the Foster-Miller TALON vehicle. MAGICian used the WAMbot robots developed by The University of Western Australia, Edith Cowan University and Thales Australia. Code was written in C++ and Java. The robots were equipped with SICK laser scanners. See the September/October 2012 special issue of the Journal of Field Robotics for contest highlights, technical approaches taken by several of the teams, and an explanation of the evaluation metrics used by organizers.

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  • Image translation

    Image translation

    Image translation is the machine translation of images of printed text (posters, banners, menus, screenshots etc.). This is done by applying optical character recognition (OCR) technology to an image to extract any text contained in the image, and then have this text translated into a language of their choice, and the applying digital image processing on the original image to get the translated image with a new language. == General == Machine translation made available on the internet (web and mobile) is a notable advance in multilingual communication eliminating the need for an intermediary translator/interpreter, translating foreign texts still poses a problem to the user as they cannot be expected to be able to type the foreign text they wish to translate and understand. Manually entering the foreign text may prove to be a difficulty especially in cases where an unfamiliar alphabet is used from a script which user can't read, e.g. Cyrillic, Chinese, Japanese etc. for an English speaker or any speaker of a Latin-based language or vice versa. The technical advancements in OCR made it possible to recognize text from images. The possibility to use one's mobile device's camera to capture and extract printed text is also known as mobile OCR and was first introduced in Japanese manufactured mobile telephones in 2004. Using the handheld's camera one could take a picture of (a line of) text and have it extracted (digitalized) for further manipulation such as storing the information in their contacts list, as a web page address (URL) or text to use in an SMS/email message etc. Presently, mobile devices having a camera resolution of 2 megapixels or above with an auto-focus ability, often feature the text scanner service. Taking the text scanning facility one step further, image translation emerged, giving users the ability to capture text with their mobile phone's camera, extract the text, and have it translated in their own language. More and more applications emerged on this technology including Word Lens. After getting acquired by Google, it was made a part of Google Translate mobile app. Another simultaneous advancement in Image Processing, has also made it possible now to replace the text on the image with the translated text and create a new image altogether. == History == The development of the image translation service springs from the advances in OCR technology (miniaturization and reduction of memory resources consumed) enabling text scanning on mobile telephones. Among the first to announce mobile software capable of “reading” text using the mobile device's camera is International Wireless Inc. who in February 2003 released their “CheckPoint” and “WebPoint” applications. “CheckPoint” reads critical symbolic information on checks and is aimed at reducing losses that mobile merchants suffer from “bounced” checks by scanning the MICR number on the bottom of a check, while “WebPoint” enables the visual recognition and decoding of printed URL's, which are then opened by the device's web browser. The first commercial release of a mobile text scanner, however, took place in December 2004 when Vodafone and Sharp began selling the 902SH mobile which was the first to feature a 2 megapixel digital camera with optical zoom. Among the device's various multimedia features was the built-in text/bar code/QR code scanner. The text scanner function could handle up to 60 alphabetical characters simultaneously. The scanned text could be then sent as an email or SMS message, added as a dictionary entry or, in the case of scanned URLs, opened via the device's web browser. All subsequent Sharp mobiles feature the text scanner functionality. In September 2005, NEC Corporation and the Nara Institute of Science and Technology in Japan (NAIST) announced new software capable of transforming cameraphones into text scanners. The application differs substantially from similarly equipped mobile telephones in Japan (able to scan businesscards and small bits of text and use OCR to convert that to editable text or to URL addresses) by it ability to scan a whole page. The two companies, however, said they would not release the software commercially before the end of 2008. Combining the text scanner function with machine translation technology was first made by US company RantNetwork who in July 2007 started selling the Communilator, a machine translation application for mobile devices featuring the Image Translation functionality. Using the built-in camera, the mobile user could take a picture of some printed text, apply OCR to recognize the text and then translate it into any one of over 25 language available. In April 2008 Nokia showcased their Shoot-to-Translate application for the N73 model which is capable of taking a picture using the device's camera, extracting the text and then translating it. The application only offers Chinese to English translation, and does not handle large segments of text. Nokia said they are in the process of developing their Multiscanner product which, besides scanning text and business cards, would be able to translate between 52 languages. Again in April 2008, Korean company Unichal Inc. released their handheld Dixau text scanner capable of scanning and recognizing English text and then translating it into Korean using online translation tools such as Wikipedia or Google Translate. The device is connected to a PC or a laptop via the USB port. In February 2009, Bulgarian company Interlecta presented at the Mobile World Congress in Barcelona their mobile translator including image recognition and speech synthesis. The application handles all European languages along with Chinese, Japanese and Korean. The software connects to a server over the Internet to accomplish the image recognition and the translation. In May 2014, Google acquired Word Lens to improve the quality of visual and voice translation. It is able to scan text or picture with one's device and have it translated instantly. Since the OCR has been improving many companies or website started combining OCR and translation, to read the text from an image and show the translated text. In August 2018, an Indian company created ImageTranslate. It is able to read, translate and re-create the image in another language. As of late 2018, the tool added 13 new languages, including Arabic, Thai, Vietnamese, Hindi, and Bengali, significantly increasing its utility in Asia and the Middle East. This helps users translate photos already stored in their phone's gallery, not just live, real-time views. Currently, image translation is offered by the following companies: Google Translate app with camera ImageTranslate Yandex

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  • Overwatch

    Overwatch

    Overwatch (abbreviated as OW) is a multimedia franchise centered on a series of multiplayer first-person shooter (FPS) video games developed by Blizzard Entertainment. Overwatch was released in 2016. Overwatch 2 was released in 2022 and the original game was taken offline upon its release, though Blizzard renamed it back to Overwatch in 2026. Overwatch features hero-based combat between two teams of players fighting over various objectives, along with other traditional gameplay modes. Released in 2016, Overwatch lacked a traditional story mode. Instead, Blizzard employed a transmedia storytelling strategy to disseminate lore regarding the game's characters, releasing comics and other literary media, as well as animated media that includes short films. The game enjoyed both critical and commercial success, and garnered a devoted following. The fan community around the franchise has produced a large amount of content including art, cosplay, fan fiction, anime-influenced music videos, Internet memes, and pornography. Blizzard helped launch and promote an esports scene surrounding the game, including an annual Overwatch World Cup, Overwatch League a minor league, and the Overwatch Champions Series which borrowed elements found in traditional American sports leagues. == Gameplay == Both games in the Overwatch series are team-based hero shooters. Players select a hero character from a large roster (52 as of Season 2), divided among three class types. These are: Tanks, who have higher health and generally meant to help protect their teammates from damage, but are larger and easier to hit; Damage, who act as the team's offensive leads; and Support, who heal, provide buffs for teammates, or de-buff the opposing team. Each role also features sub-roles with extra passives. These sub-roles include 'Initiator', 'Stalwart', and 'Bruiser' for Tank. 'Specialist', 'Flanker', 'Recon', and 'Sharpshooter' for Damage. 'Medic', 'Tactician', and 'Survivor' for Support. Players are generally free to change to different heroes while inside their spawn room during the course of a match in response to the current tactics employed by other players. As of the development of Overwatch 2, a standard game features one tank player, two damage players and two support players, a change from having two of each class in its predecessor. Players choose their class before the match, and can only pick characters within that class for the duration of the game. There are different styles of game modes, however, that allow players to choose characters from any class throughout the game. Each hero has a skill kit that includes a primary attack, active skills that require a cooldown period before they can be used again, passive skills that remain active at all times, and an Ultimate skill that can only be used once they fill their Ultimate meter either by damaging opponents, mitigating damage, healing teammates or by passively generating it over time. An update in 2025 saw each hero receive a total of four unique abilities known as perks. Each hero has two minor and two major perks; minor perks consist of smaller changes to a hero's kit, while major perks are intended to affect the match more significantly. At the beginning of each match, all heroes are set to level 1 for each player. As the match progresses, players can individually level up their respective heroes, minor perks are unlocked at level 2, and major perks are unlocked at the maximum level 3. When perks become available, players may only select one of each type of perk; a selected perk becomes irreversibly attached to the current hero for the remainder of the match. If a player switches to another hero mid-match, the previously selected hero retains their level and perk progress. Game types of Overwatch are split between standard matches, competitive play, custom games, and arcade modes. Standard matches have matchmaking based loosely on the player's skill level as measured by the game. Competitive mode uses more strict matchmaking based on a player's current rank on the competitive ladder, with their rank increasing or decreasing when they win or lose a game, respectively. Arcade modes do not use matchmaking and are generally more experimental modes compared to standard and competitive modes. Custom games are created via the workshop and can be utilised to make game modes that are very different from the base game. The workshop, is the software in Overwatch which creates the game using either presets and settings or rules and conditions made by code. These game modes can be published directly onto Overwatch’s custom browse tab or shared off platform using a 5 digit alphanumeric code. Standard and competitive game modes are randomly selected at the start of each match, and are objective based, requiring teams to control a fixed objective point for a duration of time, or escort a payload to a target zone before match time expires. These modes include: Assault (introduced in Overwatch): Also known as 2 Capture Points (or 2CP), Assault has the attacking team tasked with capturing two target points in sequence on the map, while the defending team must stop them. Assault-style maps were removed from main gameplay rotation after Overwatch 2 released but available in the game's arcade mode. It is still available in the game's custom game modes. Since Season 2, Assault-style maps are available in Arcade Mode daily routines. Escort (introduced in Overwatch): Also known as "Payload" by the community, The attacking team is tasked with escorting a payload to a certain delivery point before time runs out, while the defending team must stop them. The payload vehicle moves along a fixed track when any player on the attacking team is close to it, increasing in speed if multiple attackers are present, the increase capping at 3, but will stop if a defending player is nearby; should no attacker be near the vehicle, it will start to move backwards along the track. The payload will also heal any attacking players by 10 health per second while they are near the payload. Passing specific checkpoints will extend the match time and prevent the payload from moving backwards from that point. Hybrid (Assault/Escort) (introduced in Overwatch): The attacking team has to capture the payload (as if it were a target point from Assault) and escort it to its destination, while the defending team tries to hold them back. Control (introduced in Overwatch): Each team tries to capture and maintain a common control point until their capture percentage reaches 100%. This game mode is played in a best-of-three format. Control maps are laid out in a symmetric fashion so no team has an intrinsic position advantage. Push (introduced in Overwatch 2's launch): Each team attempts to secure control of a large robot that pushes one of two barriers to the opposing team's side of the map, whilst being escorted by at least one team member, stopping when enemy players are nearby, similar to the payload movement system in Escort. The team that pushes the payload fully to the other side, or furthest into the enemy territory before the time runs out, wins the match. Flashpoint (introduced in Overwatch 2 in 2023): Similar to Control, each team attempts to capture and maintain a common control point until their capture percentage reaches 100%. This game mode takes place on significantly larger maps with five separate control points, which take a shorter amount of time to capture as compared to a standard Control map. A central control point is always activated first; after it is secured by one team, the remaining four are activated in a random order. The first team to secure three control points wins. Clash (introduced in Overwatch 2 in 2024): Clash maps feature symmetrical maps with five control points. Teams initially vie for control of the central point, with the winning team progressing to the next control point, towards the opponent's base. Opponents can push back by winning control points and shifting the next point away from their base. If a team captures the point closest to the opponent's base, they win. Otherwise the match plays out until one team wins control five times. Arcade modes may include variations of the above modes with experimental rules, and can also include modes like Deathmatch and Capture the Flag. Other common arcade modes include: Elimination (introduced in Overwatch in 2016): Two teams face off in a series of rounds, attempting to wipe out the other team; once a player is killed they remain out of the game until the next round, though they can be revived by Mercy's 'Resurrect' ability. If no team has won a round by a certain time, then the winners are decided by the team that can first take a neutral control point. Players cannot change heroes until the next round. Some of these can be played in "lockout" mode, in which the heroes selected by the winning team for a round are "locked" and cannot be selected in future rounds. Total Mayhem (i

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  • Fuzzy differential equation

    Fuzzy differential equation

    Fuzzy differential equation are general concept of ordinary differential equation in mathematics defined as differential inclusion for non-uniform upper hemicontinuity convex set with compactness in fuzzy set. d x ( t ) / d t = F ( t , x ( t ) , α ) , {\displaystyle dx(t)/dt=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == First order fuzzy differential equation == A first order fuzzy differential equation with real constant or variable coefficients x ′ ( t ) + p ( t ) x ( t ) = f ( t ) {\displaystyle x'(t)+p(t)x(t)=f(t)} where p ( t ) {\displaystyle p(t)} is a real continuous function and f ( t ) : [ t 0 , ∞ ) → R F {\displaystyle f(t)\colon [t_{0},\infty )\rightarrow R_{F}} is a fuzzy continuous function y ( t 0 ) = y 0 {\displaystyle y(t_{0})=y_{0}} such that y 0 ∈ R F {\displaystyle y_{0}\in R_{F}} . == Linear systems of fuzzy differential equations == A system of equations of the form x ( t ) n ′ = a n 1 ( t ) x 1 ( t ) + . . . . . . + a n n ( t ) x n ( t ) + f n ( t ) {\displaystyle x(t)'_{n}=a_{n}1(t)x_{1}(t)+......+a_{n}n(t)x_{n}(t)+f_{n}(t)} where a i j {\displaystyle a_{i}j} are real functions and f i {\displaystyle f_{i}} are fuzzy functions x n ′ ( t ) = ∑ i = 0 1 a i j x i . {\displaystyle x'_{n}(t)=\sum _{i=0}^{1}a_{ij}x_{i}.} == Fuzzy partial differential equations == A fuzzy differential equation with partial differential operator is ∇ x ( t ) = F ( t , x ( t ) , α ) , {\displaystyle \nabla x(t)=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == Fuzzy fractional differential equation == A fuzzy differential equation with fractional differential operator is d n x ( t ) d t n = F ( t , x ( t ) , α ) , {\displaystyle {\frac {d^{n}x(t)}{dt^{n}}}=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} where n {\displaystyle n} is a rational number.

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  • Veo (text-to-video model)

    Veo (text-to-video model)

    Veo, or Google Veo, is a text-to-video model developed by Google DeepMind and announced in May 2024. As a generative AI model, it creates videos based on user prompts. Veo 3, released in May 2025, can also generate accompanying audio. == Development == In May 2024, a multimodal video generation model called Veo was announced at Google I/O 2024. Google claimed that it could generate 1080p videos over a minute long. In December 2024, Google released Veo 2, available via VideoFX. It supports 4K resolution video generation and has an improved understanding of physics. In April 2025, Google announced that Veo 2 became available for advanced users on the Gemini app. In May 2025, Google released Veo 3, which not only generates videos but also creates synchronized audio — including dialogue, sound effects, and ambient noise — to match the visuals. Google also announced Flow, a video-creation tool powered by Veo and Imagen. Google DeepMind CEO Demis Hassabis described the release as the moment when AI video generation left the era of the silent film. This was rebranded as Google Flow at the 2026 Google I/O keynote, along with the announcement of Google Flow Music. == Capabilities == Google Veo can be purchased at multiple subscription tiers and through Google "AI credits". The software itself can be run by two different consoles, Google Gemini and Google Flow. Gemini being geared towards shorter, quicker, and faster projects, using the Gemini AI chat model, with Google Flow, which is essentially a movie editor allowing users to create longer projects with continuity, using the same characters and actors. Users can create a maximum of eight seconds per clip. According to Gizmodo Veo 3 users were directing the model to generate low-quality content, such as man on the street interviews or haul videos of people unboxing products. 404 Media reported that the tool tended to repeat the same joke in response to different prompts. Commentators speculated that Google had trained the service on YouTube videos or Reddit posts. Google itself had not stated the source of its training content. In July 2025, Media Matters for America reported that racist and antisemitic videos generated using Veo 3 were being uploaded to TikTok. Ryan Whitwam of Ars Technica commented, "In a perfect world, Veo 3 would refuse to create these videos, but vagueness in the prompt and the AI's inability to understand the subtleties of racist tropes (i.e., the use of monkeys instead of humans in some videos) make it easy to skirt the rules."

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  • VSCO

    VSCO

    VSCO ( ), formerly known as VSCO Cam, is a photography mobile app available for iOS and Android devices. The app was created by Joel Flory and Greg Lutze. The VSCO app allows users to capture photos in the app and edit them, using preset filters and editing tools. == History == Visual Supply Company was founded by Joel Flory and Greg Lutze in California, in 2011. VSCO was launched in 2012. It raised $40 million from investors in May 2014. In 2017, VSCO launched a subscription model. As of 2018, Visual Supply Company has $90 million in funding from investors and over 2 million paying members. In 2019, VSCO acquired Rylo, a video editing startup founded by the original developer of Instagram’s Hyperlapse. Visual Supply Company has locations in Oakland, California, where it is headquartered, and Chicago, Illinois. In December 2020 VSCO acquired AI-powered video editing app Trash. In April 2018, VSCO reached over 30 million users. In September 2023, Eric Wittman was appointed as the new CEO and co-founder Joel Flory became executive chairman. == Usage == Users must register an account to use the app. Photos can be taken or imported from the camera roll, as well as short videos or animated GIFs (known in the app as DSCO; iOS only). The user can edit their photos through various preset filters, or through the "toolkit" feature which allows finer adjustments to fade, clarity, skin tone, tint, sharpness, saturation, contrast, temperature, exposure, and other properties. Users have the option of posting their photos to their profile, where they can also add captions and hashtags. Photos can also be exported back into the camera roll or shared with other social networking services. The users also have an option to edit their own videos from their camera roll with the VSCO yearly membership, but they are not able to post camera roll as VSCO Film X videos to their account on VSCO. JPEG and raw image files can be used. Research on image based social media platforms has found that engagement with posting, editing, and interacting with images can influence users' mood, self esteem, and body satisfaction. Studies also suggest that greater emotional investment in social media content is associated with increased negative psychological outcomes including stress and depressive symptoms. == In popular culture == VSCO's Oakland headquarters was a key filming location for Boots Riley's 2018 film Sorry to Bother You.

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  • AI art

    AI art

    Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa

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  • Fragile Dreams: Farewell Ruins of the Moon

    Fragile Dreams: Farewell Ruins of the Moon

    Fragile Dreams: Farewell Ruins of the Moon (フラジール ~さよなら月の廃墟~, Furajīru: Sayonara Tsuki no Haikyo; known in Japan as Fragile) is an action role-playing game for the Wii developed by Namco Bandai Games in co-operation with Tri-Crescendo. The game was released by Namco Bandai Games in Japan on January 22, 2009. It was later published by Xseed Games in North America on March 16, 2010, and in Europe by Rising Star Games on March 19, 2010, followed by its release in Australia on April 1, 2010. == Gameplay == In Fragile Dreams, the player character, Seto, must traverse the ruins of Tokyo and the surrounding areas, fighting off ghosts that lurk within these ruins. The game's heads-up display includes a mini-map and HP gauge for Seto's location and health, respectively. Seto will fall unconscious if his HP reaches zero, resulting in a game over. The player controls Seto from a third-person perspective with the Wii Remote and Nunchuk. Seto can use his flashlight (controlled by the Wii Remote pointer) to illuminate his surroundings or solve puzzles and interact with the environment. When searching for certain objectives or hidden enemies, pointing Seto's light in their direction picks up and plays their sounds through the Wii Remote's mini speaker. The Wii Nunchuk, meanwhile, directly controls Seto's movement: aside of basic movement, he can crouch to hide and crawl through small spaces. Seto will often come across damaged floors, which require slow movement (and for heavily damaged floors, crouching) to cross without falling through. As Seto, the player can use weapons found throughout the world to fight off ghosts, ranging from slingshots and golf clubs to crossbows and katanas. Each weapon can only take a certain amount of use: once a weapon reaches its limit, it will break after battle. The player can also find other usable and collectable items in the field, marked with fireflies. The player can only save their game by resting at small fire pits scattered throughout the world: used fire pits are marked with a bonfire. The player can also examine and identify Mystery Items, organize their inventory, as well as after encountering the Merchant, buy and sell items. As stated by the producer of the game, Kentarō Kawashima, Fragile Dreams is not strictly a survival horror: rather, its story focuses on human drama. In Fragile Dreams, aside of the main story, the player can find and examine objects and graffiti throughout the world. Objects called memory items (ranging from origami and stones to cell phones and books) hold the memories of their former owners (only accessible at bonfires), while the graffiti contains messages only seen by pointing at them in first-person. By examining these messages, the player can piece together hints to the game's backstory. == Story == === Setting and characters === Fragile Dreams is set in a post-apocalyptic version of Earth in the near-future. Almost all the world's population has vanished, leaving the surviving buildings and structures abandoned. The game is set in and near the ruins of Tokyo, Japan, where the event that nearly wiped out humanity may have originated. The protagonist, Seto, is a 15-year-old boy who searches the world for other living humans. He encounters Ren, a silver-haired girl who often leaves behind large, cryptic drawings. Other characters include: Sai, the ghost of a young woman; Crow, a mischievous and straightforward amnesiac boy; Personal Frame (P.F.), a portable computer who loves having conversations more than anything else; Chiyo, the ghost of a little girl; and the Merchant, a mysterious yet merry man who trades various goods. The game's host of enemies mainly consist of ghosts, but also include humanoid robots and security proxies. The main antagonist, Shin, is the AI of a scientist who considers speech to be an inferior means of communication. Various memory items include a greater set of characters, each giving hints to the game's backstory. === Plot === At the end of Seto's fifteenth summer, his grandfather dies. Seto buries him in front of their home, an old observatory, and that from then on he became "truly alone". At night, he searches for anything the old man had left for him and discovers a letter, along with a strange blue stone in a locket. Suddenly, a mask-like ghost appears and attacks Seto. After driving the creature off, Seto reads the old man's letter, who tells him to "reach a tall red tower" east of the observatory, where he might find other survivors. After departing for the tower, Seto reaches an old subway entrance in the Azabudai district and finds Ren sitting on a collapsed pillar, singing to the stars. He accidentally startles her and the frightened Ren flees into the subway station: getting over the shock of meeting another person, Seto follows her. While searching the station, he discovers a Personal Frame, who guides him towards Ren. Unfortunately, just as they reach the exit, P.F.'s battery dies out: Seto buries the device, keeping a screw from it in his locket. From the underground, Seto finds himself at an abandoned amusement park and encounters Crow, who steals Seto's locket. After a long chase across the park and another encounter with the masked ghost, Crow returns Seto's locket and directs him to a hotel nearby, where he saw a girl who might know something about Ren. Crow also gives Seto his skull ring to keep in his locket and kisses him. At the hotel, Seto encounters Sai and fights the masked ghost again. After laying to rest the spirit of an old woman named Chiyo, the two discover Ren's drawings by a sewer. Returning to the underground, Seto and Sai find themselves at a hydropower dam. While searching for Ren, Seto discovers that Crow is actually a robot, but his battery begins to fail and Seto mourns for him as he "die[s]". Finally, they encounter Ren in a cell: although glad to see him again, Ren runs off after Shin calls. Sai explains to Seto that most of humanity died because of a "human empathy expansion project" called Glass Cage. The project was meant to make human thoughts transparent, meaning that no one would need words to communicate. However, after Glass Cage activated, people who went to sleep never woke up again. Sai reveals that she was Glass Cage's first catalyst: this time, Shin intends to use Ren as the catalyst. After exiting the dam, a demolition crane attempts to destroy it. Hearing both Shin's and the masked ghost's voices from the crane — saying, "Any threat to the project must be eliminated." — the player realizes both are manifestations of Glass Cage. After Seto destroys the crane, Sai leads him to the facility where Ren was taken to. Entering the laboratory, Seto and Sai are confronted by Shin, who coldly dismisses Sai's attempts at reasoning with him and is adamant about proceeding with his plans. As they traverse the laboratory, they overhear a voice announcing "Glass Cage Launch Preparations Complete", strengthening their resolve to save Ren. Making it into the room where Ren is being held, Shin tells them of his intention to use Glass Cage to "obliterate corporeal beings". After Seto defeats him, Shin disappears and Seto releases Ren from the device holding her. Their reunion is cut short as Sai tells them that the backup system has "finished copying her psyche to the AI", allowing Glass Cage to proceed. Ren reveals Shin has escaped to the top of the Tokyo Tower and Seto asks Ren to wait at the base of the tower and for Sai to accompany her. On his way up the tower, Seto hears the voices of P.F., Chiyo and Crow wishing him luck. He confronts and defeats Shin a second time, who reveals his motivations: he had secretly used himself as the first test subject of the human empathy expansion project and gained the ability to hear the thoughts of those around him. Despite his initial belief in the project as a way for humans to empathize with one another, all he heard around him was "jealousy and contempt" and he soon grew disillusioned with the world as even his parents turned against him. Believing no person loved him, Shin wants to put an end to humanity. His words meet with a vehement response from Sai, as she tells him that she loves him, having developed those feelings while she was the catalyst and all she ever wanted was to be part of his life. Hearing this, Shin finds peace, tossing the AI mainframe away so Glass Cage can never be reactivated and vanishes together with Sai, hand-in-hand, after thanking Seto. Descending from the tower, Seto finally learns Ren's name and they resolve to look for other survivors together. == Development == Fragile Dreams was developed by the team at Namco Bandai Games. Director and producer Kentarō Kawashima came up with the concept for the game in 2003, before the Wii console was revealed. When the Wii was unveiled, it became the obvious choice as the game's platform as the Wii remote could be used to control the flashlight. Kawashima wrote the main scenario for the title, w

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