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  • EM algorithm and GMM model

    EM algorithm and GMM model

    In statistics, EM (expectation maximization) algorithm handles latent variables, while GMM is the Gaussian mixture model. == Background == In the picture below, are shown the red blood cell hemoglobin concentration and the red blood cell volume data of two groups of people, the Anemia group and the control group (i.e. the group of people without Anemia). As expected, people with Anemia have lower red blood cell volume and lower red blood cell hemoglobin concentration than those without Anemia. x {\displaystyle x} is a random vector such as x := ( red blood cell volume , red blood cell hemoglobin concentration ) {\displaystyle x:={\big (}{\text{red blood cell volume}},{\text{red blood cell hemoglobin concentration}}{\big )}} , and from medical studies it is known that x {\displaystyle x} are normally distributed in each group, i.e. x ∼ N ( μ , Σ ) {\displaystyle x\sim {\mathcal {N}}(\mu ,\Sigma )} . z {\displaystyle z} is denoted as the group where x {\displaystyle x} belongs, with z i = 0 {\displaystyle z_{i}=0} when x i {\displaystyle x_{i}} belongs to the Anemia group and z i = 1 {\displaystyle z_{i}=1} when x i {\displaystyle x_{i}} belongs to the control group. Also z ∼ Categorical ⁡ ( k , ϕ ) {\displaystyle z\sim \operatorname {Categorical} (k,\phi )} where k = 2 {\displaystyle k=2} , ϕ j ≥ 0 , {\displaystyle \phi _{j}\geq 0,} and ∑ j = 1 k ϕ j = 1 {\displaystyle \sum _{j=1}^{k}\phi _{j}=1} . See Categorical distribution. The following procedure can be used to estimate ϕ , μ , Σ {\displaystyle \phi ,\mu ,\Sigma } . A maximum likelihood estimation can be applied: ℓ ( ϕ , μ , Σ ) = ∑ i = 1 m log ⁡ ( p ( x ( i ) ; ϕ , μ , Σ ) ) = ∑ i = 1 m log ⁡ ∑ z ( i ) = 1 k p ( x ( i ) ∣ z ( i ) ; μ , Σ ) p ( z ( i ) ; ϕ ) {\displaystyle \ell (\phi ,\mu ,\Sigma )=\sum _{i=1}^{m}\log(p(x^{(i)};\phi ,\mu ,\Sigma ))=\sum _{i=1}^{m}\log \sum _{z^{(i)}=1}^{k}p\left(x^{(i)}\mid z^{(i)};\mu ,\Sigma \right)p(z^{(i)};\phi )} As the z i {\displaystyle z_{i}} for each x i {\displaystyle x_{i}} are known, the log likelihood function can be simplified as below: ℓ ( ϕ , μ , Σ ) = ∑ i = 1 m log ⁡ p ( x ( i ) ∣ z ( i ) ; μ , Σ ) + log ⁡ p ( z ( i ) ; ϕ ) {\displaystyle \ell (\phi ,\mu ,\Sigma )=\sum _{i=1}^{m}\log p\left(x^{(i)}\mid z^{(i)};\mu ,\Sigma \right)+\log p\left(z^{(i)};\phi \right)} Now the likelihood function can be maximized by making partial derivative over μ , Σ , ϕ {\displaystyle \mu ,\Sigma ,\phi } , obtaining: ϕ j = 1 m ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \phi _{j}={\frac {1}{m}}\sum _{i=1}^{m}1\{z^{(i)}=j\}} μ j = ∑ i = 1 m 1 { z ( i ) = j } x ( i ) ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \mu _{j}={\frac {\sum _{i=1}^{m}1\{z^{(i)}=j\}x^{(i)}}{\sum _{i=1}^{m}1\left\{z^{(i)}=j\right\}}}} Σ j = ∑ i = 1 m 1 { z ( i ) = j } ( x ( i ) − μ j ) ( x ( i ) − μ j ) T ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \Sigma _{j}={\frac {\sum _{i=1}^{m}1\{z^{(i)}=j\}(x^{(i)}-\mu _{j})(x^{(i)}-\mu _{j})^{T}}{\sum _{i=1}^{m}1\{z^{(i)}=j\}}}} If z i {\displaystyle z_{i}} is known, the estimation of the parameters results to be quite simple with maximum likelihood estimation. But if z i {\displaystyle z_{i}} is unknown it is much more complicated. Being z {\displaystyle z} a latent variable (i.e. not observed), with unlabeled scenario, the expectation maximization algorithm is needed to estimate z {\displaystyle z} as well as other parameters. Generally, this problem is set as a GMM since the data in each group is normally distributed. In machine learning, the latent variable z {\displaystyle z} is considered as a latent pattern lying under the data, which the observer is not able to see very directly. x i {\displaystyle x_{i}} is the known data, while ϕ , μ , Σ {\displaystyle \phi ,\mu ,\Sigma } are the parameter of the model. With the EM algorithm, some underlying pattern z {\displaystyle z} in the data x i {\displaystyle x_{i}} can be found, along with the estimation of the parameters. The wide application of this circumstance in machine learning is what makes EM algorithm so important. == EM algorithm in GMM == The EM algorithm consists of two steps: the E-step and the M-step. Firstly, the model parameters and the z ( i ) {\displaystyle z^{(i)}} can be randomly initialized. In the E-step, the algorithm tries to guess the value of z ( i ) {\displaystyle z^{(i)}} based on the parameters, while in the M-step, the algorithm updates the value of the model parameters based on the guess of z ( i ) {\displaystyle z^{(i)}} of the E-step. These two steps are repeated until convergence is reached. The algorithm in GMM is: Repeat until convergence: 1. (E-step) For each i , j {\displaystyle i,j} , set w j ( i ) := p ( z ( i ) = j | x ( i ) ; ϕ , μ , Σ ) {\displaystyle w_{j}^{(i)}:=p\left(z^{(i)}=j|x^{(i)};\phi ,\mu ,\Sigma \right)} 2. (M-step) Update the parameters ϕ j := 1 m ∑ i = 1 m w j ( i ) {\displaystyle \phi _{j}:={\frac {1}{m}}\sum _{i=1}^{m}w_{j}^{(i)}} μ j := ∑ i = 1 m w j ( i ) x ( i ) ∑ i = 1 m w j ( i ) {\displaystyle \mu _{j}:={\frac {\sum _{i=1}^{m}w_{j}^{(i)}x^{(i)}}{\sum _{i=1}^{m}w_{j}^{(i)}}}} Σ j := ∑ i = 1 m w j ( i ) ( x ( i ) − μ j ) ( x ( i ) − μ j ) T ∑ i = 1 m w j ( i ) {\displaystyle \Sigma _{j}:={\frac {\sum _{i=1}^{m}w_{j}^{(i)}\left(x^{(i)}-\mu _{j}\right)\left(x^{(i)}-\mu _{j}\right)^{T}}{\sum _{i=1}^{m}w_{j}^{(i)}}}} With Bayes' rule, the following result is obtained by the E-step: p ( z ( i ) = j | x ( i ) ; ϕ , μ , Σ ) = p ( x ( i ) | z ( i ) = j ; μ , Σ ) p ( z ( i ) = j ; ϕ ) ∑ l = 1 k p ( x ( i ) | z ( i ) = l ; μ , Σ ) p ( z ( i ) = l ; ϕ ) {\displaystyle p\left(z^{(i)}=j|x^{(i)};\phi ,\mu ,\Sigma \right)={\frac {p\left(x^{(i)}|z^{(i)}=j;\mu ,\Sigma \right)p\left(z^{(i)}=j;\phi \right)}{\sum _{l=1}^{k}p\left(x^{(i)}|z^{(i)}=l;\mu ,\Sigma \right)p\left(z^{(i)}=l;\phi \right)}}} According to GMM setting, these following formulas are obtained: p ( x ( i ) | z ( i ) = j ; μ , Σ ) = 1 ( 2 π ) n / 2 | Σ j | 1 / 2 exp ⁡ ( − 1 2 ( x ( i ) − μ j ) T Σ j − 1 ( x ( i ) − μ j ) ) {\displaystyle p\left(x^{(i)}|z^{(i)}=j;\mu ,\Sigma \right)={\frac {1}{(2\pi )^{n/2}\left|\Sigma _{j}\right|^{1/2}}}\exp \left(-{\frac {1}{2}}\left(x^{(i)}-\mu _{j}\right)^{T}\Sigma _{j}^{-1}\left(x^{(i)}-\mu _{j}\right)\right)} p ( z ( i ) = j ; ϕ ) = ϕ j {\displaystyle p\left(z^{(i)}=j;\phi \right)=\phi _{j}} In this way, a switch between the E-step and the M-step is possible, according to the randomly initialized parameters.

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  • Trevor Paglen

    Trevor Paglen

    Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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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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  • Loab

    Loab

    Loab ( LOBE) is a fictional character that artist and writer Steph Maj Swanson claimed to have discovered with a text-to-image AI model in April 2022. In a viral Twitter thread, Swanson described the images of Loab as an unexpectedly emergent property of the software, saying they discovered them when asking the model to produce something "as different from the prompt as possible". == History == The Sweden-based artist Steph Maj Swanson said that they first generated these images in April 2022 by using the algorithmic technique of "negative prompt weights" accessing latent space. The initial prompt - 'Brando::-1', requesting the opposite of actor Marlon Brando - generated a "skyline logo" with the cryptic lettering "DIGITA PNTICS". Attempting to generate the opposite of this image using the prompt "DIGITA PNTICS skyline logo::-1" yielded what Swanson described as "off-putting images, all of the same devastated-looking older woman with defined triangles of rosacea(?) on her cheeks". Swanson nicknamed the character "Loab", after one of the generated images resembled an album cover that included the printed word "loab". Swanson says that using the image as a prompt for further images produced increasingly violent and gory results. Swanson speculated that something about the image could be "adjacent to extremely gory and macabre imagery in the distribution of the AI's world knowledge". Swanson says that when they combined images of Loab with other pictures, the subsequent results consistently return an image including Loab, regardless of how much distortion they added to the prompts to try and remove her visage. Swanson speculated that the latent space region of the AI map that Loab is located in, in addition to being near gruesome imagery, must be isolated enough that any combinations with other images could only use Loab from her area and no related images due to its isolation. After enough crossbreeding of images and dilution attempts, Swanson was able to eventually generate images without Loab, but found that crossbreeding those diluted images would also eventually lead to a version of Loab to reappear in the resulting images. Swanson has said that "for various reasons" they declined to disclose the software used to create the images. Loab has been referred to as the "first AI-generated cryptid" and as such has gone viral. Despite hyping up the cryptid nature of the discovery in their wording, Swanson admitted that "Loab isn't really haunted, of course", but noted that the mythos that has sprung up around the AI-generated character has gone beyond their initial involvement. Swanson speculated that people sharing pictures and memes of Loab would lead future AIs to use those images as a part of their latent space maps, making her an innate part of the internet landscape, with Swanson adding "If we want to get rid of her, it's already too late." == Response == There has been discussion of whether the Loab series of images are "a legitimate quirk of AI art software, or a cleverly disguised creepypasta." Smithsonian magazine has written that "Loab sparked some lengthy ethical conversations around visual aesthetics, art and technology," and some have criticized the labeling of a woman with rosacea as a horror image, considering this to be "stigmatizing disability". Swanson responded that if the AI map is combining Loab with violent imagery, then that is a "social bias" in the data being used for the image modeling software. The Atlantic writer Stephen Marche described Loab as a "form of expression that has never existed before" whose authorship is unclear and that exists as an "emanation of the collective imagistic heritage, the unconscious visual mind". Laurens Verhagen in de Volkskrant commented that rather than showing that there are "dark horror creatures hidden deep within AI", the existence of Loab instead implies that our current "understanding of AI is limited". Mhairi Aitken at the Alan Turing Institute stated that rather than a "creepy" emergent property, output results like Loab were representative of the "limitations of AI image-generator models" and was more concerned about the urban legends that are born from such "boring" innocuous things and how easily "other people take these things seriously". Carly Cassella for ScienceAlert described Loab as a "modern day tronie" (a style of Dutch painting) that is not representative of an actual person, but just a concept or idea, similar but distinct from works like the Girl With A Pearl Earring. Wired's Joel Warner argued that Loab was only the beginning and that, with AI text generators such as ChatGPT becoming more commonplace, a "linguistic version of Loab" would emerge in that space as well and begin creating ideas through "intentional prompts" or otherwise that will be as disturbing as The 120 Days of Sodom.

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  • Knowledge integration

    Knowledge integration

    Knowledge integration is the process of synthesizing multiple knowledge models (or representations) into a common model (representation). Compared to information integration, which involves merging information having different schemas and representation models, knowledge integration focuses more on synthesizing the understanding of a given subject from different perspectives. For example, multiple interpretations are possible of a set of student grades, typically each from a certain perspective. An overall, integrated view and understanding of this information can be achieved if these interpretations can be put under a common model, say, a student performance index. The Web-based Inquiry Science Environment (WISE), from the University of California at Berkeley has been developed along the lines of knowledge integration theory. Knowledge integration has also been studied as the process of incorporating new information into a body of existing knowledge with an interdisciplinary approach. This process involves determining how the new information and the existing knowledge interact, how existing knowledge should be modified to accommodate the new information, and how the new information should be modified in light of the existing knowledge. A learning agent that actively investigates the consequences of new information can detect and exploit a variety of learning opportunities; e.g., to resolve knowledge conflicts and to fill knowledge gaps. By exploiting these learning opportunities the learning agent is able to learn beyond the explicit content of the new information. The machine learning program KI, developed by Murray and Porter at the University of Texas at Austin, was created to study the use of automated and semi-automated knowledge integration to assist knowledge engineers constructing a large knowledge base. A possible technique which can be used is semantic matching. More recently, a technique useful to minimize the effort in mapping validation and visualization has been presented which is based on Minimal Mappings. Minimal mappings are high quality mappings such that i) all the other mappings can be computed from them in time linear in the size of the input graphs, and ii) none of them can be dropped without losing property i). The University of Waterloo operates a Bachelor of Knowledge Integration undergraduate degree program as an academic major or minor. The program started in 2008.

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  • Galatea (video game)

    Galatea (video game)

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

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  • Your AI Slop Bores Me

    Your AI Slop Bores Me

    Your AI Slop Bores Me (stylized in all lowercase) is a website and social experiment created by programmer Mihir Maroju. Serving as a parody of large language models (LLMs) like ChatGPT and Claude, all questions and image prompts posed by users are answered by other, randomly-selected human users of the site. As of March 2026, the site has reached 50 million hits and sits at 16,000 concurrent users. == Background == In an interview with Fast Company, Maroju said he was inspired to create the site by his frustration with AI proliferating the internet with AI generated content, saying the site came from "a frustration for AI art and its proliferation, making artists' lives worse and also just filling the internet with low-effort generic slop". == Overview == The site has a credit system, in which a first-time user will be given 1 credit for free. Every 10 minutes, if a user has 0 credits, they will receive 2 credits. Once the credits are used up, the user can no longer do prompts unless the user earns them. The user can earn credits by responding to other user's prompts by "larping as AI" while given a 75-second time limit. Prompts can either be for a written response, or a drawing for the other user to fulfill the prompt. The maximum amount of credits a user can have is 6 credits, and cannot exceed the maximum limit. If the prompting user activates "thinking mode", the countdown is extended to 150 seconds for the cost of 2 credits. == Reception == The site has garnered attention and praise from X users, and across many online communities. The Daily Dot's Rachel Kiley wrote that "the best part about the game is that there's really no right or wrong way to do it. Humans aren't LLMs trained on copyrighted material and the whole of the free internet, but we do retain a certain amount of the information we've learned from those things over the course of our lives, while also being capable of creativity". Chris Taylor of Mashable called the site "amateurish and charming". Aftermath's Nicole Carpenter wrote that the site reminded her of "the human touch of chaos".

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  • Hostile Waters: Antaeus Rising

    Hostile Waters: Antaeus Rising

    Hostile Waters, released as Hostile Waters: Antaeus Rising in America, is a hybrid vehicle and strategy game developed and published by Rage Software for Microsoft Windows. It was inspired by Carrier Command (Realtime Games, 1988). It has won several awards and one unofficial award from Rock Paper Shotgun as a "lost classic" or "The best game you've never played". == Plot == Hostile Waters takes place in a Utopian future where war has been abolished. In the year 2012, a revolutionary war takes place between the corrupt and power-hungry politicians, leaders and businessmen (described as the "Old Guard") and the people. The Old Guard were defeated, with only a few of their leaders escaping. By 2032, the world has been rebuilt as a utopia, with the help of nano-technological assemblers, which are used in "creation engines" to create matter from energy and waste, for free. The newly united world is governed from a capital city known as Central. Missile attacks are suddenly launched against major cities all over the world from an unknown location. This is eventually discovered to be an island chain in the South Pacific Ocean. A response to the missile attacks was a special forces team sent in to investigate the area for preliminary investigations. The Ministry of Intelligence (MinIntel) loses contact with it shortly thereafter. The world government authorises a reactivation of the Antaeus program, a series of warships able to create any weapon of their choosing using their on-board nano-technological creation engine. Two of these were left on the seabed in the case of an emergency, capable of being re-activated and refloating itself. On board are a series of "soulcatcher" chips, a classified 1990s military program researched into for the storage of human brain functions on a silicon chip. The soulcatcher technology was used to store the minds of every crew member ever assigned to an Antaeus vessel. It is soon discovered that one of the cruisers does not respond to the awakening signal. The other cruiser, however, is refloated and re-activated, with heavy damage to vital ship components. A course is plotted for a nearby disused wet-dock. As the Antaeus progresses from the wet-dock, unusual biological life-forms are discovered amongst the enemy bases on the islands. The identity of the aggressor firing the missiles is confirmed as the leftovers of the old, pre-Central forces, known as the Cabal. Outnumbering Central's army a thousand to one, they are fighting with thousands of troops and weapons that they hid away when it was apparent that the war was lost. The Antaeus is deployed into the chicane to stop the Cabal's operations there. It's later discovered that along with their superior numbers, they have also biologically engineered a species of organic machines, designed in the popular likeness of extraterrestrials, which they intend to use to create the fear of an alien invasion, to facilitate their taking over the world and the removal of the public use of creation engines. The Cabal later lose control of the species, which eventually turns on its masters, destroying them. The species starts spreading, modifying the planetary climate and geographical features in an attempt to exterminate humanity and make the planet more hospitable to itself. Having exterminated its creators, the species resolves to cleanse humanity as a whole from the planet using a massive 'disassembler cannon', only to be stopped by the Antaeus. The species subsequently attempts to flee into the cosmos and colonise the surrounding planets and stars, by launching a massive number of 'culture stones' (information devices that also double as creation engines) into space from an enormous, artificially-grown organic "island", the final staging point. Central's only option is to bind the Antaeus' creation engine and the disassembler cannon stolen from the aliens together to create a makeshift bomb, and detonate it at the central "column" containing the culture stones. The plan succeeds, and the Antaeus is sacrificed to save the world. The final cinematic show the organic disassembler cannon and the Antaeus' creation engine moving closer together and fusing, creating something new. A post-credits scene also shows that two of the species' culture stones have managed to get into space. == Gameplay == Each Mission takes place on and or near a fortified enemy island containing various forms of anti-air and ground defence, with scattered unit-production complexes powered by oil-derricks and fuel containers (which are dependent on the oil-derricks) that the player can destroy to keep the enemy from replacing destroyed forces. Vehicles are built on the Antaeus and, if desired, land vehicles can be delivered to a location by the air-lifting "magpie". Units are created by providing Antaeus with a number of resources which are obtained at the beginning of the level and debris which are taken from destroyed enemy units and structures. Transport helicopters such as the "Pegasus" can fly to an object and airlift it to the ship-board recycling system with little resources required. The carrier can analyse objects it disassembles at the rear of the Antaeus cruiser, and several of the game's vehicles and items are unlocked by "sampling" them in this fashion. The game has a number of vehicles that are progressively unlocked as the missions progress. Vehicles contain a number of slots for equipment and a selection of different types of weapons to use in the vehicle. A variety of vehicle equipment combinations can be designed. Vehicles have an individual damage multiplier such that different vehicles with the same weapon will do different damage. In addition to this, each soul-chip personality specializes in one unit along with specific equipment, which, if equipped will gain them a bonus in efficiency. == Development == The game was developed by 12 people. == Reception == The game received "favourable" reviews according to the review aggregation website Metacritic. Carla Harker of NextGen said, "You'll feel like a real battlefield general when you take to the field in Antaeus Rising." Jake The Snake of GamePro said, "If the usual game categories leave you unscathed, get bloodied in these Hostile Waters."

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  • Rhetorical structure theory

    Rhetorical structure theory

    Rhetorical structure theory (RST) is a theory of text organization that describes relations that hold between parts of text. It was originally developed by William Mann, Sandra Thompson, Christian M. I. M. Matthiessen and others at the University of Southern California's Information Sciences Institute (ISI) and defined in a 1988 paper. The theory was developed as part of studies of computer-based text generation. Natural language processing researchers later began using RST in automatic summarization and other applications. It explains coherence by postulating a hierarchical, connected structure of texts, which are labeled using a small, predefined inventory of relation types - for example, one part of a text may provide an elaboration on another part, provide background or specify a cause for another. In the 2000s, following the release of the first large-scale dataset implementing the theory, the RST Discourse Treebank (RST-DT), Daniel Marcu demonstrated the feasibility of practical applications of RST to discourse parsing and summarization at ISI. Originally limited to written text, subsequent work in the 2010s expanded RST to spoken language analysis, and the framework has been applied to a variety of languages including Farsi, German, Mandarin Chinese, Russian and Spanish. Following the introduction of Transformers, LLMs have been applied to automatic RST parsing, with results approaching human performance on parsing text in English. == Rhetorical relations == Rhetorical relations, also called coherence or discourse relations, are paratactic (coordinate) or hypotactic (subordinate) relations that hold across two or more text spans. The logical arrangement of relations in a text contributes to its coherence by connecting different propositions in a relational structure. RST using rhetorical relations provides a systematic way for an analyst to analyze the underlying intention of a text. The analysis is usually built by reading the text and constructing a tree using the relations. The following example is a title and summary, appearing at the top of an article in Scientific American magazine (adapted from Ramachandran and Anstis, 1986). The original text, broken into numbered units, is: [Title:] The Perception of Apparent Motion [Abstract:] When the motion of an intermittently seen object is ambiguous the visual system resolves confusion by applying some tricks that reflect a built-in knowledge of properties of the physical world. In the figure, the numbers 1-5 show the corresponding units from the text above. Unit 5 provides an "elaboration" on unit 4, and therefore constitutes a less prominent satellite of unit 4, which acts as a nucleus for the relation. Units 4-5 form a relation "Means", explaining the means by which the visual system resolves confusion. Unit 3 is the Central Discourse Unit (CDU) of the text, since all units point to it directly or indirectly. Similarly units 1 and 2 form "preparation" and "circumstance" relations relative to their nuclei. Groups of units which serve as a satellite or nucleus together are called complex discourse units, and always span a set of adjacent EDUs. == Nuclearity in discourse == RST establishes two different types of units. Nuclei are considered as the most important parts of text whereas satellites contribute to the nuclei and are secondary. Nucleus contains basic information and satellite contains additional information about nucleus. The satellite is often incomprehensible without nucleus, whereas a text where satellites have been deleted can be understood to a certain extent. == Hierarchy in the analysis == RST relations are applied recursively in a text, until all units in that text are constituents in an RST relation. The result of such analyses is that RST structure are typically represented as trees, with one top level relation that encompasses other relations at lower levels. == Why RST? == From linguistic point of view, RST proposes a different view of text organization than most linguistic theories. RST points to a tight relation between relations and coherence in text From a computational point of view, it provides a characterization of text relations that has been implemented in different systems and for applications as text generation and summarization. == In design rationale == Computer scientists Ana Cristina Bicharra Garcia and Clarisse Sieckenius de Souz have used RST as the basis of a design rationale system called ADD+. In ADD+, RST is used as the basis for the rhetorical organization of a knowledge base, in a way comparable to other knowledge representation systems such as issue-based information system (IBIS). Similarly, RST has been used in representation schemes for argumentation.

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  • Argumentation theory

    Argumentation theory

    Argumentation theory is the interdisciplinary study of how conclusions can be supported or undermined by premises through logical reasoning. With historical origins in logic, dialectic, and rhetoric, argumentation theory includes the arts and sciences of civil debate, dialogue, conversation, and persuasion. It studies rules of inference, logic, and procedural rules in both artificial and real-world settings. Argumentation includes various forms of dialogue such as deliberation and negotiation which are concerned with collaborative decision-making procedures. It also encompasses eristic dialogue, the branch of social debate in which victory over an opponent is the primary goal, and didactic dialogue used for teaching. This discipline also studies the means by which people can express and rationally resolve or at least manage their disagreements. Argumentation is a daily occurrence, such as in public debate, science, and law. For example in law, in courts by the judge, the parties and the prosecutor, in presenting and testing the validity of evidences. Also, argumentation scholars study the post hoc rationalizations by which organizational actors try to justify decisions they have made irrationally. Argumentation is one of four rhetorical modes (also known as modes of discourse), along with exposition, description, and narration. == Key components of argumentation == Some key components of argumentation are: Understanding and identifying arguments, either explicit or implied, and the goals of the participants in the different types of dialogue. Identifying the premises from which conclusions are derived. Establishing the "burden of proof" – determining who made the initial claim and is thus responsible for providing evidence why their position merits acceptance. For the one carrying the "burden of proof", the advocate, to marshal evidence for their position in order to convince or force the opponent's acceptance. The method by which this is accomplished is producing valid, sound, and cogent arguments, devoid of weaknesses, and not easily attacked. In a debate, fulfillment of the burden of proof creates a burden of rejoinder. One must try to identify faulty reasoning in the opponent's argument, to attack the reasons/premises of the argument, to provide counterexamples if possible, to identify any fallacies, and to show why a valid conclusion cannot be derived from the reasons provided for their argument. For example, consider the following exchange, illustrating the No true Scotsman fallacy: Argument: "No Scotsman puts sugar on his porridge." Reply: "But my friend Angus, who is a Scotsman, likes sugar with his porridge." Rebuttal: "Well perhaps, but no true Scotsman puts sugar on his porridge." In this dialogue, the proposer first offers a premise, the premise is challenged by the interlocutor, and so the proposer offers a modification of the premise, which is designed only to evade the challenge provided. == Internal structure of arguments == Typically an argument has an internal structure, comprising the following: a set of assumptions or premises, a method of reasoning or deduction, and a conclusion or point. An argument has one or more premises and one conclusion. Often classical logic is used as the method of reasoning so that the conclusion follows logically from the assumptions or support. One challenge is that if the set of assumptions is inconsistent then anything can follow logically from inconsistency. Therefore, it is common to insist that the set of assumptions be consistent. It is also good practice to require the set of assumptions to be the minimal set, with respect to set inclusion, necessary to infer the consequent. Such arguments are called MINCON arguments, short for minimal consistent. Such argumentation has been applied to the fields of law and medicine. A non-classical approach to argumentation investigates abstract arguments, where 'argument' is considered a primitive term, so no internal structure of arguments is taken into account. == Types of dialogue == In its most common form, argumentation involves an individual and an interlocutor or opponent engaged in dialogue, each contending differing positions and trying to persuade each other, but there are various types of dialogue: Persuasion dialogue aims to resolve conflicting points of view of different positions. Negotiation aims to resolve conflicts of interests by cooperation and dealmaking. Inquiry aims to resolve general ignorance by the growth of knowledge. Deliberation aims to resolve a need to take action by reaching a decision. Information seeking aims to reduce one party's ignorance by requesting information from another party that is in a position to know something. Eristic aims to resolve a situation of antagonism through verbal fighting. == Argumentation and the grounds of knowledge == Argumentation theory had its origins in foundationalism, a theory of knowledge (epistemology) in the field of philosophy. It sought to find the grounds for claims in the forms (logic) and materials (factual laws) of a universal system of knowledge. The dialectical method was made famous by Plato and his use of Socrates critically questioning various characters and historical figures. But argument scholars gradually rejected Aristotle's systematic philosophy and the idealism in Plato and Kant. They questioned and ultimately discarded the idea that argument premises take their soundness from formal philosophical systems. The field thus broadened. One of the original contributors to this trend was the philosopher Chaïm Perelman, who together with Lucie Olbrechts-Tyteca introduced the French term la nouvelle rhetorique in 1958 to describe an approach to argument which is not reduced to application of formal rules of inference. Perelman's view of argumentation is much closer to a juridical one, in which rules for presenting evidence and rebuttals play an important role. Karl R. Wallace's seminal essay, "The Substance of Rhetoric: Good Reasons" in the Quarterly Journal of Speech (1963) 44, led many scholars to study "marketplace argumentation" – the ordinary arguments of ordinary people. The seminal essay on marketplace argumentation is Ray Lynn Anderson's and C. David Mortensen's "Logic and Marketplace Argumentation" Quarterly Journal of Speech 53 (1967): 143–150. This line of thinking led to a natural alliance with late developments in the sociology of knowledge. Some scholars drew connections with recent developments in philosophy, namely the pragmatism of John Dewey and Richard Rorty. Rorty has called this shift in emphasis "the linguistic turn". In this new hybrid approach argumentation is used with or without empirical evidence to establish convincing conclusions about issues which are moral, scientific, epistemic, or of a nature in which science alone cannot answer. Out of pragmatism and many intellectual developments in the humanities and social sciences, "non-philosophical" argumentation theories grew which located the formal and material grounds of arguments in particular intellectual fields. These theories include informal logic, social epistemology, ethnomethodology, speech acts, the sociology of knowledge, the sociology of science, and social psychology. These new theories are not non-logical or anti-logical. They find logical coherence in most communities of discourse. These theories are thus often labeled "sociological" in that they focus on the social grounds of knowledge. == Kinds of argumentation == === Conversational argumentation === The study of naturally occurring conversation arose from the field of sociolinguistics. It is usually called conversation analysis (CA). Inspired by ethnomethodology, it was developed in the late 1960s and early 1970s principally by the sociologist Harvey Sacks and, among others, his close associates Emanuel Schegloff and Gail Jefferson. Sacks died early in his career, but his work was championed by others in his field, and CA has now become an established force in sociology, anthropology, linguistics, speech-communication and psychology. It is particularly influential in interactional sociolinguistics, discourse analysis and discursive psychology, as well as being a coherent discipline in its own right. Recently CA techniques of sequential analysis have been employed by phoneticians to explore the fine phonetic details of speech. Empirical studies and theoretical formulations by Sally Jackson and Scott Jacobs, and several generations of their students, have described argumentation as a form of managing conversational disagreement within communication contexts and systems that naturally prefer agreement. === Mathematical argumentation === The basis of mathematical truth has been the subject of long debate. Frege in particular sought to demonstrate (see Gottlob Frege, The Foundations of Arithmetic, 1884, and Begriffsschrift, 1879) that arithmetical truths can be derived from purely logical axioms and therefore are, in th

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  • AI Snake Oil

    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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  • Emi Kusano

    Emi Kusano

    Emi Kusano (Japanese: 草野 絵美, Hepburn: Kusano Emi; born August 4, 1990) is a Tokyobased Japanese multidisciplinary artist known for creating photography, video, and installations using generative AI technology. Her work explores themes of nostalgia, pop culture, and collective memory. Her work explores themes of nostalgia, pop culture, and collective memory. She is recognized as one of the early practitioners of generative AI art. Her work has been exhibited at the 21st Century Museum of Contemporary Art, Kanazawa, and screened at the M+ Museum’s Asian Avant-Garde Film Festival. Additionally, she has participated in prestigious international art fairs, including Paris Photo and Art Basel Hong Kong. In 2025, she was named one of the World Economic Forum's Young Global Leaders. In 2026, she was selected as a fellow for the AI x Arts Fellowship at Mohamed bin Zayed University of Artificial Intelligence. Kusano serves as a part-time lecturer at the Tokyo University of the Arts and is the producer and vocalist for the Synthwave music unit, Satellite Young. == Early life == === Photography === Kusano was born and raised in Tokyo. Kusano's career began during her high school years before 2008 when she became involved in street fashion photography. Her photographs, primarily taken in Harajuku, were published on "Japanese Streets", "Metropolis", CNN's travel guide magazine "CNN GO","WGSN". Her photography was exhibited at the FIT Museum in New York and the Victoria and Albert Museum in London. == Career == === Music and Installation work === Since 2014, in collaboration with BelleMaison Sekine, Kusano has led "Satellite Young," a synthwave music unit s the lead vocalist, she sings about blending 1980s idol culture with lyrics that tackle contemporary issues such as planned obsolescence ("Sony Timer"), online dating, artificial intelligence, and social media. Their music, known for its conceptual depth, has earned international niche recognition. "Satellite Young" has participated in music festivals, including "South by Southwest," showcasing their unique fusion of retro aesthetics and modern critiques. In 2018, she was selected to participate in "Art Hack Day," an interdisciplinary art hackathon held at The National Museum of Emerging Science and Innovation. where she presented "Singing Dream," a karaoke machine endowed with artificial life, earning the Jury Prize. "Instababy Generator," a 2019 installation co-created with Junichi Yamaoka, explored the concept of designer babies and received recognition at the SIGGRAPH Art Gallery. In October 2020, operating under the name Emi Satellite, she debuted as a solo singer with her first single "Glass Ceiling," an empowerment anthem that addresses the challenges faced by women and encourages progress towards the future. The music video for this song features a direction where strong women rewrite the roles of protagonists in a Bishōjo game, a type of dating simulation game. This concept later served as a prototype for Shinsei Galverse. === Challenge for Blockchain Art === In 2021, she explored the financial world through her single "IPO" and entered the NFT space with "Love Is an IPO," her first NFT work on Ethereum, sold on Foundation. In April 2022, she co-founded the crowdfunded anime project "Shinsei Galverse" with Ayaka Ohira, Devin Mancuso, and Jack Baldwin. serving as one of the executive directors overseeing the creative direction and story. The project's NFT collection of 8,888 ranked #1 on OpenSea's "Top NFTs" for several days, marking one of Japan's first globally successful blockchain art projects. In 2023, Shinsei Galverse produced the official "I like u" music video by Grammy-nominated singer Tove Lo as an initial anime endeavor. Kusano also contributed to discussions on Web3.0 and blockchain technology as a panelist in seminars organized by the Digital Agency of Japan. === AI art === In May 2023, Kusano's first AI art collection "Neural Fad" depicting imaginary fashion history sold out 100 pieces within 24 hours at the "Bright Moments Tokyo" In June, she created WWDJAPAN's first AI-generated magazine cover using her own face. It is the first AI cover in Japanese fashion media. She was also appointed t to the Cultural Affairs Agency's Copyright Subcommittee, she participates in discussions on generative AI and copyright. Her "Synthetic Reflections" self-portrait series debuted on SuperRare, with the first piece auctioned for 3.5 ETH (equivalent to 6,480 US dollars at the time). In July 2023, she co-exhibited a 3D AI-generated dress at Christie's "Future Frequencies" auction with Gucci, alongside Claire Silver. In September, her 30-piece "Pixelated Perception" exhibit at Art Blocks Marfa explored 1990s media and gender, also showcased at the 21st Century Museum of Contemporary Art, Kanazawa. In December, her "Techno-Animism" AI art collection fused Japanese animism with technology. Collaborating with a U.S. gallery, she unveiled 336 pieces during a two-week Art Basel world tour. Throughout the two-week tour, she sold a total of 336 pieces, generating 11.2 ETH (equivalent to 21,264 US dollars at the time). === Generative art === In February 2024, the generative art platform Art Blocks selected the work "Melancholic Magical Maiden," for its Curated category. This piece reconstructs the aesthetics of 1990s magical girl anime, offering a critique of past anime heroines. It sold out within an hour, with all 300 pieces going for a total of 57 ETH (equivalent to approximately 215,385US dollars at the time). In April 2024, Emi Kusano spoke at the Standing Committee on Copyright and Other Rights at the World Intellectual Property Organization (WIPO) in Geneva, Switzerland, where she presented AI-specific information for discussion. == Style and technique == Kusano draws inspiration from Japanese retro-futurism as a foundation for her artwork, which explores the cutting-edge of technology. This approach is fueled by nostalgia for the pre-internet era, specifically the postwar period when Japanese mass media held significant sway. By blending modern technology with retro-culture, she captures the complex feelings of love, hate, and ambivalence towards present and future accelerationism. While at university, Kusano was profoundly influenced by Naoki Sakai, the industrial designer responsible for igniting the retro-futurism movement. In her musical project "Satellite Young", Kusano dons the persona of an '80s female idol and sings about contemporary technology. In her installation piece "Singing Dream", she investigates the concept of an artificial life form inhabiting a karaoke machine, which has been popular since the 1980s, compelling people to sing. In the collaborative NFT art project "Shinsei Galverse", Kusano reimagines a cyberpunk anime primarily featuring female characters, incorporating elements of magical girls popular in the early Heisei period. == Personal life == Kusano has two sons. In August 2021, she minted her older son Zombie Zoo Keeper's pixel art on "OpenSea" as part of his summer research project. The artwork was purchased by notable figures including Brud CEO Trevor McFedries and Steve Aoki, who bought the piece for the equivalent of 21.82 thousand US dollars, highlighting the intersection of art, technology, and family in her work.

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  • NAPLPS

    NAPLPS

    NAPLPS (North American Presentation Layer Protocol Syntax) is a graphics language for use originally with videotex and teletext services. NAPLPS was developed from the Telidon system developed in Canada, with a small number of additions from AT&T Corporation. The basics of NAPLPS were later used as the basis for several other microcomputer-based graphics systems. == History == The Canadian Communications Research Centre (CRC), based in Ottawa, had been working on various graphics systems since the late 1960s, much of it led by Herb Bown. Through the 1970s they turned their attention to building out a system of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6-bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". These instructions were decoded by separate programs to produce graphics output, on a plotter for instance. Other work produced a fully interactive version. In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a color display. During this period, a number of companies were developing the first teletext systems, notably the BBC's Ceefax system. Ceefax encoded character data into the lines in the vertical blanking interval of normal television signals where they could not be seen on-screen, and then used a buffer and decoder in the user's television to convert these into "pages" of text on the display. The Independent Broadcasting Authority quickly introduced their own ORACLE system, and the two organizations subsequently agreed to use a single standard, the "Broadcast Teletext Specification". This later became World System Teletext. At about the same time, other organizations were developing videotex systems, similar to teletext except they used modems to transmit their data instead of television signals. This was potentially slower and used up a telephone line, but had the major advantage of allowing the user to transmit data back to the sender. The UK's General Post Office developed a system using the Ceefax/ORACLE standard, launching it as Prestel, while France prepared the first steps for its ultimately very successful Minitel system, using a rival display standard called Antiope. By 1977, the Norpak system was running, and from this work the CRC decided to create their own teletext/videotext system. Unlike the systems being rolled out in Europe, the CRC decided from the start that the system should be able to run on any combination of communications links. For instance, it could use the vertical blanking interval to send data to the user, and a modem to return selections to the servers. It could be used in a one-way or two-way system. In teletext mode, character codes were sent to users' televisions by encoding them as dot patterns in the vertical blanking interval of the video signal. Various technical "tweaks" and details of the NTSC signals used by North American televisions allowed the downstream videotex channel to increase to 600 bit/s, about twice that used in the European systems. In videotext mode, Bell 202 modems were typical, offering a 1,200 bit/s download rate. A set top box attached to the TV decoded these signals back into text and graphics pages, which the user could select among. The system was publicly launched as Telidon on August 15, 1978. Compared to the European standards, the CRC system was faster, bi-directional, and offered real graphics as opposed to simple character graphics. The downside of the system was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors with RGB and/or RF output. The Innovation, Science and Economic Development Canada (then Department of Communications) launched a four-year plan to fund public roll-outs of the technology in an effort to spur the development of a commercial Telidon system. AT&T Corporation was so impressed by Telidon that they decided to join the project. They added a number of useful extensions, notably the ability to define original graphics commands (macro) and character sets (DRCS). They also tabled algorithms for proportionally spaced text, which greatly improved the quality of the displayed pages. A joint CSA/ANSI working group (X3L2.1) revised the specifications, which were submitted for standardization. In 1983, they became CSA T500 and ANSI X3.110, or NAPLPS. The data encoding system was also standardized as the NABTS (North American Broadcast Teletext Specification) protocol. Business models for Telidon services were poorly developed. Unlike the UK, where teletext was supported by one of only two large companies whose whole revenue model was based on a read-only medium (television), in North America Telidon was being offered by companies who worked on a subscriber basis. == One-way systems == Telidon-based teletext was tested in a few North American trials in the early 1980s — CBC IRIS, TVOntario, MTS-sponsored Project IDA, to name a few. NAPLPS was also part of the NABTS teletext standard, for the encoding and display of teletext pages. In the late 1980s and early 1990s, affiliates of the regional sports network group SportsChannel ran a service called Sports Plus Network, which ran sports news and scores while SportsChannel was not otherwise on the air. The screens, which frequently featured team logos or likenesses of players in addition to text, were drawn entirely with NAPLPS graphics and resembled the loading of Prodigy pages over a modem, though slightly faster. == Two-way systems == Various two-way systems using NAPLPS appeared in North America in the early 1980s. The biggest North American examples were Knight Ridder's Viewtron (based in Miami) and the Los Angeles Times' Gateway service (based in Orange County). Both used the Sceptre NAPLPS terminal from AT&T. The Sceptre contained a slow modem that connected over the consumer's telephone line to host computers. The Sceptre was expensive whether purchased or rented. Despite huge investments by their parent companies, neither Viewtron nor Gateway lasted into the second half of the decade. Another system, Keyfax, was developed by Keycom Electronic Publishing, a joint venture of Honeywell, Centel (since acquired by Sprint) and Field Enterprises, then-owner of the Chicago Sun-Times newspaper. Keyfax had originally been a WST teletext service, broadcast overnights on Field's Chicago television station WFLD-32 and through the VBI of both WFLD and national superstation WTBS; the decision was made to convert Keyfax into a subscription service, using a proprietary NAPLPS terminal device in a last-ditch effort to save the service. It did not work and Keyfax had ceased operations by the end of 1986. Other early-1980s NAPLPS technology was deployed in Canada, both as a way for rural Canadians to get news and weather information and as the platform for touchscreen information kiosks. In Vancouver these were featured at Expo 86. The kiosks became ubiquitous in Toronto under the name Teleguide, and were deployed in many shopping centres and at major tourist attractions. The latter city was the North American nexus of NAPLPS and the home of Norpak, the most successful of NAPLPS-oriented developers. Norpak created and sold hardware and software for NAPLPS development and display. TVOntario also developed NAPLPS content creation software. London, Ontario - based Cableshare used NAPLPS as the basis of touch-screen information kiosks for shopping malls, the flagship of which was deployed at Toronto's Eaton Centre. The system relied on an 8085-based microcomputer which drove several NAPLPS terminals fitted with touch screens, all communicating via Datapac to a back end database. The system offered news, weather and sports information along with shopping mall guides and coupons. Cableshare also developed and sold a leading NAPLPS page creation utility called the "Picture Painter." In the late 1980s, Tribune Media Services (TMS) and the Associated Press operated a cable television channel called AP News Plus that provided NAPLPS-based news screens to cable television subscribers in many U.S. cities. The news pages were created and edited by TMS staffers working on an Atex editing system in Orlando, Florida, and sent by satellite to NAPLPS decoder devices located at the local cable television companies. Among the firms providing technology to TMS and the Associated Press for the AP News Plus channel was Minneapolis-based Electronic Publishers Inc. (1985–1988). In 1981, two amateur radio operators (VE3FTT and VE3GQW) received special permission from the Canad

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  • Digital organism

    Digital organism

    A digital organism is a self-replicating computer program that mutates and evolves. Digital organisms are used as a tool to study the dynamics of Darwinian evolution, and to test or verify specific hypotheses or mathematical models of evolution. The study of digital organisms is closely related to the area of artificial life. == History == Digital organisms can be traced back to the game Darwin, developed in 1961 at Bell Labs, in which computer programs had to compete with each other by trying to stop others from executing . A similar implementation that followed this was the game Core War. In Core War, it turned out that one of the winning strategies was to replicate as fast as possible, which deprived the opponent of all computational resources. Programs in the Core War game were also able to mutate themselves and each other by overwriting instructions in the simulated "memory" in which the game took place. This allowed competing programs to embed damaging instructions in each other that caused errors (terminating the process that read it), "enslaved processes" (making an enemy program work for you), or even change strategies mid-game and heal themselves. Steen Rasmussen at Los Alamos National Laboratory took the idea from Core War one step further in his core world system by introducing a genetic algorithm that automatically wrote programs. However, Rasmussen did not observe the evolution of complex and stable programs. It turned out that the programming language in which core world programs were written was very brittle, and more often than not mutations would completely destroy the functionality of a program. The first to solve the issue of program brittleness was Thomas S. Ray with his Tierra system, which was similar to core world. Ray made some key changes to the programming language such that mutations were much less likely to destroy a program. With these modifications, he observed for the first time computer programs that did indeed evolve in a meaningful and complex way. Later, Chris Adami, Titus Brown, and Charles Ofria started developing their Avida system, which was inspired by Tierra but again had some crucial differences. In Tierra, all programs lived in the same address space and could potentially execute or otherwise interfere with each other's code. In Avida, on the other hand, each program lives in its own address space. Because of this modification, experiments with Avida became much cleaner and easier to interpret than those with Tierra. With Avida, digital organism research has begun to be accepted as a valid contribution to evolutionary biology by a growing number of evolutionary biologists. Evolutionary biologist Richard Lenski of Michigan State University has used Avida extensively in his work. Lenski, Adami, and their colleagues have published in journals such as Nature and the Proceedings of the National Academy of Sciences (USA). In 1996, Andy Pargellis created a Tierra-like system called Amoeba that evolved self-replication from a randomly seeded initial condition. More recently REvoSim - a software package based around binary digital organisms - has allowed evolutionary simulations of large populations that can be run for geological timescales.

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  • It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year is an AI-generated television commercial created for McDonald's Netherlands by TBWA\Neboko and The Sweetshop. It was released on 6 December 2025 before being pulled four days later due to negative reception over its use of generative artificial intelligence and its cynical, negative depiction of the holiday season. == Plot == On a bleak, snowy day, various people in the city experience different kinds of mishaps during the Christmas season. Among other incidents, families struggle with their huge loads of presents; Santa Claus gets stuck in traffic; a Christmas tree "redecorates" a man's home, sending him through the window; another family puts up with annoying relatives and a burnt Christmas dinner. Because of all this chaos, a man decides to find refuge in a McDonald's outlet. A Christmas choir finishes singing the jingle "It's the Most Terrible Time of the Year" with the call to action to "hide out in McDonald's till January's here". == Campaign == It's the Most Terrible Time of the Year is a 45-second television commercial made by Dutch agency TBWA\Neboko with involvement of United States-based film production studio The Sweetshop. The advertisement was produced heavily with generative artificial intelligence (AI) following the trend set by other brands such as Coca-Cola and Toys "R" Us. McDonald's Netherlands, the client, released a statement that the commercial was meant to depict "the stressful moments during the holidays in the Netherlands". The commercial also used Andy Williams's "It's the Most Wonderful Time of the Year" with lyrics changed to fit with the concept of the advertisement. According to The Sweetshop, the production of the advertisement took "seven weeks". It also added that much effort was put into the commercial compared to the traditional process. Ten people of its in-house AI engine The Gardening Club worked on the project. Los Angeles-based directors Mark Potoka and Matt Spicer were initially credited to be involved in the film but they resigned due to being sidelined from the production process. == Reception == The advertisement was released on McDonald's Netherlands' YouTube channel on 6 December 2025. It had a negative reception over the use of generative AI and the "cynical" concept of the work's story. The video was made private on 9 December 2025. The Sweetshop stated that the production of the advertisement took human effort. McDonald's Netherlands, while stating the original intent of the commercial, released a statement after its pullout that, for many of its customers, the holiday season is the "most wonderful time of the year".

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