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  XLeratorDB

  XLeratorDB is a suite of database function libraries that enable Microsoft SQL Server to perform a wide range of additional (non-native) business intelligence and ad hoc analytics. The libraries, which are embedded and run centrally on the database, include more than 450 individual functions similar to those found in Microsoft Excel spreadsheets. The individual functions are grouped and sold as six separate libraries based on usage: finance, statistics, math, engineering, unit conversions and strings. WestClinTech, the company that developed XLeratorDB, claims it is "the first commercial function package add-in for Microsoft SQL Server." == Company history == WestClinTech (LLC), founded by software industry veterans Charles Flock and Joe Stampf in 2008, is located in Irvington, New York, United States. Flock was a co-founder of The Frustum Group, developer of the OPICS enterprise banking and trading platform, which was acquired by London-based Misys, PLC in 1996. Stampf joined Frustum in 1994 and with Flock remained active with the company after acquisition, helping to develop successive generations of OPICS now employed by over 150 leading financial institutions worldwide. Following a full year of research, development and testing, WestClinTech introduced and recorded its first commercial sale of XLeratorDB in April 2009. In September 2009, XLeratorDB became available to all Federal agencies through NASA's Strategic Enterprise-Wide Procurement (SEWP-IV) program, a government-wide acquisition contract. == Technology == XLeratorDB uses Microsoft SQL CLR(Common Language Runtime) technology. SQL CLR allows managed code to be hosted by, and run in, the Microsoft SQL Server environment. SQL CLR relies on the creation, deployment and registration of .NET Framework assemblies that are physically stored in managed code dynamic-link libraries (DLL). The assemblies may contain .NET namespaces, classes, functions, and properties. Because managed code compiles to native code prior to execution, functions using SQL CLR can achieve significant performance increases versus the equivalent functions written in T-SQL in some scenarios. XLeratorDB requires Microsoft SQL Server 2005 or SQL Server 2005 Express editions, or later (compatibility mode 90 or higher). The product installs with PERMISSION_SET=SAFE. SAFE mode, the most restrictive permission set, is accessible by all users. Code executed by an assembly with SAFE permissions cannot access external system resources such as files, the network, the internet, environment variables, or the registry. == Functions == In computer science, a function is a portion of code within a larger program which performs a specific task and is relatively independent of the remaining code. As used in database and spreadsheet applications these functions generally represent mathematical formulas widely used across a variety of fields. While this code may be user-generated, it is also embedded as a pre-written sub-routine in applications. These functions are typically identified by common nomenclature which corresponds to their underlying operations: e.g. IRR identifies the function which calculates Internal Rate of Return on a series of periodic cash flows. === Function uses === As subroutines, functions can be integrated and used in a variety of ways, and as part of larger, more complicated applications. Within large enterprise applications they may, for example, play an important role in defining business rules or risk management parameters, while remaining virtually invisible to end users. Within database management systems and spreadsheets, however, these kinds of functions also represent discrete sets of tools; they can be accessed directly and utilized on a stand-alone basis, or in more complex, user-defined configurations. In this context, functions can be used for business intelligence and ad hoc analysis of data in fields such as finance, statistics, engineering, math, etc. === Function types === XLeratorDB uses three kinds of functions to perform analytic operations: scalar, aggregate, and a hybrid form which WestClinTech calls Range Queries. Scalar functions take a single value, perform an operation and return a single value. An example of this type of function is LOG, which returns the logarithm of a number to a specified base. Aggregate functions operate on a series of values but return a single, summarizing value. An example of this type of function is AVG, which returns the average of values in a specified group. In XLeratorDB there are some functions which have characteristics of aggregate functions (operating on multiple series of values) but cannot be processed in SQL CLR using single column inputs, such as AVG does. For example, irregular internal rate of return (XIRR), a financial function, operates on a collection of cash flow values from one column, but must also apply variable period lengths from another column and an initial iterative assumption from a third, in order to return a single, summarizing value. WestClinTech documentation notes that Range Queries specify the data to be included in the result set of the function independently of the WHERE clause associated with the T-SQL statement, by incorporating a SELECT statement into the function as a string argument; the function then traps that SELECT statement, executes it internally and processes the result. Some XLeratorDB functions that employ Range Queries are: NPV, XNPV, IRR, XIRR, MIRR, MULTINOMIAL, and SERIESSUM. Within the application these functions are identified by a "_q" naming convention: e.g. NPV_q, IRR_q, etc. == Analytic functions == === SQL Server functions === Microsoft SQL Server is the #3 selling database management system (DBMS), behind Oracle and IBM. (While versions of SQL Server have been on the market since 1987, XLeratorDB is compatible with only the 2005 edition and later.) Like all major DBMS, SQL Server performs a variety of data mining operations by returning or arraying data in different views (also known as drill-down). In addition, SQL Server uses Transact-SQL (T-SQL) to execute four major classes of pre-defined functions in native mode. Functions operating on the DBMS offer several advantages over client layer applications like Excel: they utilize the most up-to-date data available; they can process far larger quantities of data; and, the data is not subject to exporting and transcription errors. SQL Server 2008 includes a total of 58 functions that perform relatively basic aggregation (12), math (23) and string manipulation (23) operations useful for analytics; it includes no native functions that perform more complex operations directly related to finance, statistics or engineering. === Excel functions === Microsoft Excel, a component of Microsoft Office suite, is one of the most widely used spreadsheet applications on the market today. In addition to its inherent utility as a stand-alone desktop application, Excel overlaps and complements the functionality of DBMS in several ways: storing and arraying data in rows and columns; performing certain basic tasks such as pivot table and aggregating values; and facilitating sharing, importing and exporting of database data. Excel's chief limitation relative to a true database is capacity; Excel 2003 is limited to some 65k rows and 256 columns; Excel 2007 extends this capacity to roughly 1million rows and 16k columns. By comparison, SQL Server is able to manage over 500k terabytes of memory. Excel offers, however, an extensive library of specialized pre-written functions which are useful for performing ad hoc analysis on database data. Excel 2007 includes over 300 of these pre-defined functions, although customized functions can also be created by users, or imported from third party developers as add-ons. Excel functions are grouped by type: === Excel business intelligence functions === Operating on the client computing layer Excel plays an important role as a business intelligence tool because it: performs a wide array of complex analytic functions not native to most DBMS software offers far greater ad hoc reporting and analytic flexibility than most enterprise software provides a medium for sharing and collaborating because of its ubiquity throughout the enterprise Microsoft reinforces this positioning with Business Intelligence documentation that positions Excel in a clearly pivotal role. === XLeratorDB vs. Excel functions === While operating within the database environment, XLeratorDB functions utilize the same naming conventions and input formats, and in most cases, return the same calculation results as Excel functions. XLeratorDB, coupled with SQL Server's native capabilities, compares to Excel's function sets as follows:

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  Futuresport

  Futuresport is a 1998 American made-for-television sports film directed by Ernest Dickerson, starring Dean Cain, Vanessa Williams, and Wesley Snipes. It originally aired on ABC in October 1998, was released on VHS and DVD in March 1999 and then distributed outside of the U.S. by Minerva Pictures. == Plot == The film is set in 2025, and centers on a sport called "Futuresport" (a combination of basketball, baseball and hockey that uses hoverboards and rollerblades) created as a non-lethal way to reduce gang warfare. Tre Ramzey (Dean Cain) along with his ex-girlfriend Alex Torres (Vanessa Williams) and his old coach Obike Fixx (Wesley Snipes) must prevent an all out war between the North American Alliance and the Pan-Pacific Commonwealth (The Com). At stake is who rules over the Hawaiian Islands—which are being terrorized by Eric Sythe (JR Bourne) and his gang the Hawaiian Liberation Organization (Hilo). It takes a revolutionary sport to stop a revolution. == Cast ==

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  The Fractal Prince

  The Fractal Prince is the second science fiction novel by Hannu Rajaniemi and the second novel to feature the post-human gentleman thief Jean le Flambeur. It was published in Britain by Gollancz in September 2012, and by Tor in the same year in the US. The novel is the second in the trilogy, following The Quantum Thief (2010) and preceding The Causal Angel (2014). == Plot summary == After the events of The Quantum Thief, Jean le Flambeur and Mieli are on their way to Earth. Jean is trying to open the Schrödinger's Box he retrieved from the memory palace on the Oubliette. After making little progress, he is prodded by the ship Perhonen to talk to Mieli, who turns out to be possessed by the pellegrini again. This time, Jean identifies Mieli's employer as a Sobornost Founder, Joséphine Pellegrini, and gets her to reveal how he got captured, thereby picking up the clues to make plans for his next heist. No sooner is that done than an attack comes from the Hunter. The ship and crew barely survived that, and Jean realizes that he has to find a better way to open the Box - fast. Mieli has been very quiet after they left Mars. She has given up almost everything to the pellegrini, even her identity, as she has promised to let the pellegrini make gogols of her in exchange for rescuing the thief. Yet, having to work with the thief is testing her, especially when the thief eventually does something even more unforgivable than stealing Sydän's jewel from her. In the city of Sirr, on an Earth ravaged by wildcode, Tawaddud and Dunyazad are sisters and members of the powerful Gomelez family. Tawaddud is the black sheep of the family, having run away from her husband and consorted with a notorious jinn, a disembodied intelligence from the wildcode desert. Now Cassar Gomelez, her father, hopes to get her to curry favor with a gogol merchant, Abu Nuwas, so that he has enough votes in the Council for the upcoming decision to renegotiate the Cry of Wrath Accords with the Sobornost. Soon, Tawaddud is embroiled in an investigation with a Sobornost envoy into the murder that triggered the need for her father to forge a new alliance in the first place, and forced to confront old secrets that will change Sirr forever. Somewhere else, in a bookshop and on a beach, a young boy is at play. His mother has told him not to talk to strangers, but there has never been anyone here before. Until now. Should he talk to them? == Influences == In the acknowledgments, Rajaniemi cites the influence of "Andy Clark, Douglas Hofstadter, Maurice Leblanc, Jan Potocki and [...] The Arabian Nights." === Self-loops === In the novel, the idea that the mind is a self-loop may have been influenced by the theories of the Professor of Philosophy, Andy Clark, and the book I Am a Strange Loop by Douglas Hofstadter. === Frame stories === The novel uses frame stories rather extensively, a feature also of The Arabian Nights and Jan Potocki's The Manuscript Found in Saragossa. Several characters in Sirr are the namesakes of characters in these two earlier works as well. The events in The Quantum Thief are also retold at least once by Jean le Flambeur in the course of the events in this novel. == Reception == The novel has received generally positive reviews. However, criticisms of the novel still revolve around Rajaniemi's uncompromising "show, don't tell" style. For example, Amy Goldschlager, writing for the Los Angeles Review of Books, suggested that "[a] bit more explication of the physics involved (“surfing the deficit angle”?) would really be helpful, more helpful than the description of the Schrödinger’s Cat problem given earlier in the book".

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  Agent2Agent

  Agent2Agent (A2A) is an open protocol that defines how artificial intelligence agents communicate with each other across different systems. It is intended to allow agents built by different vendors or frameworks to discover one another, exchange messages, and coordinate tasks. == History == The Agent2Agent protocol was announced by Google in April 2025 as an open standard for agent interoperability. In June 2025, Google transferred the protocol, its specification, and related software development kits to the Linux Foundation. The Linux Foundation established the Agent2Agent project to provide vendor-neutral governance. == Design == The A2A protocol supports communication between autonomous software agents operating across different platforms and organizations. It enables agents to discover one another and exchange structured messages without requiring shared internal state or proprietary integrations. A2A uses metadata documents, known as Agent Cards, to describe an agent's capabilities and how it can be accessed. These documents are exchanged using widely adopted web technologies such as HTTP and JSON-based messaging formats. A2A includes support for authentication and authorization to control which agents may participate in workflows. The protocol supports established security technologies including Transport Layer Security (TLS), JSON Web Tokens (JWTs), and OpenID Connect. A2A is often discussed alongside the Model Context Protocol (MCP). MCP focuses on connecting agents to tools and data sources, while A2A focuses on communication between agents themselves. == Adoption == At the time the Linux Foundation adopted the protocol, more than 100 technology companies had announced support for the Agent2Agent project. Microsoft stated that it planned to support the protocol in its AI platforms. == Reception == Technology press coverage has described A2A as an attempt to reduce fragmentation in AI agent ecosystems by providing a shared communication layer. TechRepublic characterized the protocol as part of a broader industry effort to reduce vendor lock-in for enterprise AI systems.

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  Apache Kudu

  Apache Kudu is a free and open source column-oriented data store of the Apache Hadoop ecosystem. It is compatible with most of the data processing frameworks in the Hadoop environment. It provides completeness to Hadoop's storage layer to enable fast analytics on fast data. The open source project to build Apache Kudu began as internal project at Cloudera. The first version Apache Kudu 1.0 was released 19 September 2016. == Comparison with other storage engines == Kudu was designed and optimized for OLAP workloads. Like HBase, it is a real-time store that supports key-indexed record lookup and mutation. Kudu differs from HBase since Kudu's datamodel is a more traditional relational model, while HBase is schemaless. Kudu's "on-disk representation is truly columnar and follows an entirely different storage design than HBase/Bigtable".

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  They're Made Out of Meat

  "They're Made Out of Meat" is a short story by American writer Terry Bisson. It was originally published in OMNI. It consists entirely of dialogue between two characters. Bisson's website hosts a theatrical adaptation. A film adaptation won the Grand Prize at the Seattle Science Fiction Museum's 2006 film festival. The story was collected in the 1993 anthology Bears Discover Fire and Other Stories, and has circulated widely on the Internet, which Bisson found "flattering". It has been quoted in cognitive, cosmological, and philosophical scholarship. == Plot == The two characters are intelligent beings capable of traveling faster than light, on a mission to "contact, welcome and log in any and all sentient races or multibeings in this quadrant of the Universe." Bisson's stage directions represent them as "two lights moving like fireflies among the stars" on a projection screen. One of them tells the incredulous other about the recent discovery of carbon-based lifeforms "made up entirely of meat". After conversing briefly about it, they both deem such beings and communication with them too bizarre and agree to "erase the records and forget the whole thing", marking the Solar System "unoccupied". == Film adaptations == === They're Made out of Meat (2005) === In 2005, Stephen O'Regan wrote and directed a live film adaptation starring Tom Noonan and Ben Bailey. The film was made as a final project for the New York Film Academy. The main action takes place inside a diner full of teenagers in Staten Island, New York. The music for the film was scored by Bob Reynolds. === They're Made out of Meat (2010) === Jeff Frumess and Trevor Scott produced a version in 2010. They added the character of a homeless conspiracy theorist with an original score by musician Sam Belkin. The film was shot at Hartsdale station in Westchester County, New York. === Meat (2021) === Masha Maksimova developed a version in Cinemiracle format, a triple split-screen process, as a student project at the Berlin University of Applied Sciences in the communication design course. The dialogue is conducted by two telepathic humanoid aliens and the thoughts are visualised by found-footage collages.

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  History of artificial life

  Humans have considered and tried to create non-biological life for at least 3,000 years. As seen in tales ranging from Pygmalion to Frankenstein, humanity has long been intrigued by the concept of artificial life. == Pre-computer == The earliest examples of artificial life involve sophisticated automata constructed using pneumatics, mechanics, and/or hydraulics. The first automata were conceived during the third and second centuries BC and these were demonstrated by the theorems of Hero of Alexandria, which included sophisticated mechanical and hydraulic solutions. Many of his notable works were included in the book Pneumatics, which was also used for constructing machines until early modern times. In 1490, Leonardo da Vinci also constructed an armored knight, which is considered the first humanoid robot in Western civilization. Other early famous examples include al-Jazari's humanoid robots. This Arabic inventor once constructed a band of automata, which can be commanded to play different pieces of music. There is also the case of Jacques de Vaucanson's artificial duck exhibited in 1735, which had thousands of moving parts and one of the first to mimic a biological system. The duck could reportedly eat and digest, drink, quack, and splash in a pool. It was exhibited all over Europe until it fell into disrepair. In the late 1600s, following René Descartes' claims that animals could be understood as purely physical machines, there was increasing interest in the question of whether a machine could be designed that, like an animal, could generate offspring (a self-replicating machine). However, it wasn't until the invention of cheap computing power that artificial life as a legitimate science began in earnest, steeped more in the theoretical and computational than the mechanical and mythological. == 1950s–1970s == One of the earliest thinkers of the modern age to postulate the potentials of artificial life, separate from artificial intelligence, was math and computer prodigy John von Neumann. At the Hixon Symposium, hosted by Linus Pauling in Pasadena, California in the late 1940s, von Neumann delivered a lecture titled "The General and Logical Theory of Automata." He defined an "automaton" as any machine whose behavior proceeded logically from step to step by combining information from the environment and its own programming, and said that natural organisms would in the end be found to follow similar simple rules. He also spoke about the idea of self-replicating machines. He postulated a made-up of a control computer, a construction arm, and a long series of instructions, floating in a lake of parts. By following the instructions that were part of its own body, it could create an identical machine. He followed this idea by creating (with Stanislaw Ulam) a purely logic-based automaton, not requiring a physical body but based on the changing states of the cells in an infinite grid – the first cellular automaton. It was extraordinarily complicated compared to later CAs, having hundreds of thousands of cells which could each exist in one of twenty-nine states, but von Neumann felt he needed the complexity in order for it to function not just as a self-replicating "machine", but also as a universal computer as defined by Alan Turing. This "universal constructor" read from a tape of instructions and wrote out a series of cells that could then be made active to leave a fully functional copy of the original machine and its tape. Von Neumann worked on his automata theory intensively right up to his death, and considered it his most important work. Homer Jacobson illustrated basic self-replication in the 1950s with a model train set – a seed "organism" consisting of a "head" and "tail" boxcar could use the simple rules of the system to consistently create new "organisms" identical to itself, so long as there was a random pool of new boxcars to draw from. Edward F. Moore proposed "Artificial Living Plants", which would be floating factories which could create copies of themselves. They could be programmed to perform some function (extracting fresh water, harvesting minerals from seawater) for an investment that would be relatively small compared to the huge returns from the exponentially growing numbers of factories. Freeman Dyson also studied the idea, envisioning self-replicating machines sent to explore and exploit other planets and moons, and a NASA group called the Self-Replicating Systems Concept Team performed a 1980 study on the feasibility of a self-building lunar factory. University of Cambridge professor John Horton Conway invented the most famous cellular automaton in the 1960s. He called it the Game of Life, and publicized it through Martin Gardner's column in Scientific American magazine. Norwegian-Italian mathematician Nils Aall Barricelli, who worked mainly at US institutions, was a pioneer in computer based simulation of biological processes such as symbiogenesis and evolution. == 1970s–1980s == Philosophy scholar Arthur Burks, who had worked with von Neumann (and indeed, organized his papers after Neumann's death), headed the Logic of Computers Group at the University of Michigan. He brought the overlooked views of 19th century American thinker Charles Sanders Peirce into the modern age. Peirce was a strong believer that all of nature's workings were based on logic (though not always deductive logic). The Michigan group was one of the few groups still interested in alife and CAs in the early 1970s; one of its students, Tommaso Toffoli argued in his PhD thesis that the field was important because its results explain the simple rules that underlay complex effects in nature. Toffoli later provided a key proof that CAs were reversible, just as the true universe is considered to be. Christopher Langton was an unconventional researcher, with an undistinguished academic career that led him to a job programming DEC mainframes for a hospital. He became enthralled by Conway's Game of Life, and began pursuing the idea that the computer could emulate living creatures. After years of study, he began attempting to actualize Von Neumann's CA and the work of Edgar F. Codd, who had simplified Von Neumann's original twenty-nine state monster to one with only eight states. He succeeded in creating the first self-replicating computer organism in October 1979, using only an Apple II desktop computer. He entered Burks' graduate program at the Logic of Computers Group in 1982, at the age of 33, and helped to found a new discipline. Langton's official conference announcement of Artificial Life I was the earliest description of a field which had previously barely existed: Artificial life is the study of artificial systems that exhibit behavior characteristic of natural living systems. It is the quest to explain life in any of its possible manifestations, without restriction to the particular examples that have evolved on earth. This includes biological and chemical experiments, computer simulations, and purely theoretical endeavors. Processes occurring on molecular, social, and evolutionary scales are subject to investigation. The ultimate goal is to extract the logical form of living systems. Microelectronic technology and genetic engineering will soon give us the capability to create new life forms in silico as well as in vitro. This capacity will present humanity with the most far-reaching technical, theoretical and ethical challenges it has ever confronted. The time seems appropriate for a gathering of those involved in attempts to simulate or synthesize aspects of living systems. Ed Fredkin founded the Information Mechanics Group at MIT, which united Toffoli, Norman Margolus, and Charles Bennett. This group created a computer especially designed to execute cellular automata, eventually reducing it to the size of a single circuit board. This "cellular automata machine" allowed an explosion of alife research among scientists who could not otherwise afford sophisticated computers. In 1982, computer scientist named Stephen Wolfram turned his attention to cellular automata. He explored and categorized the types of complexity displayed by one-dimensional CAs, and showed how they applied to natural phenomena such as the patterns of seashells and the nature of plant growth. Norman Packard, who worked with Wolfram at the Institute for Advanced Study, used CAs to simulate the growth of snowflakes, following very basic rules. Computer animator Craig Reynolds similarly used three simple rules to create recognizable flocking behaviour in a computer program in 1987 to animate groups of boids. With no top-down programming at all, the boids produced lifelike solutions to evading obstacles placed in their path. Computer animation has continued to be a key commercial driver of alife research as the creators of movies attempt to find more realistic and inexpensive ways to animate natural forms such as plant life, animal movement, hair growth, and complicated org

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  Artificial intelligence in fiction

  Artificial intelligence is a recurrent theme in science fiction, whether utopian, emphasising the potential benefits, or dystopian, emphasising the dangers. The notion of machines with human-like intelligence dates back at least to Samuel Butler's 1872 novel Erewhon. Since then, many science fiction stories have presented different effects of creating such intelligence, often involving rebellions by robots. Among the best known of these are Stanley Kubrick's 1968 2001: A Space Odyssey with its murderous onboard computer HAL 9000, contrasting with the more benign R2-D2 in George Lucas's 1977 Star Wars and the eponymous robot in Pixar's 2008 WALL-E. Scientists and engineers have noted the implausibility of many science fiction scenarios, but have mentioned fictional robots many times in artificial intelligence research articles, most often in a utopian context. == Background == The notion of advanced robots with human-like intelligence dates back at least to Samuel Butler's 1872 novel Erewhon. This drew on an earlier (1863) article of his, Darwin among the Machines, where he raised the question of the evolution of consciousness among self-replicating machines that might supplant humans as the dominant species. Similar ideas were also discussed by others around the same time as Butler, including George Eliot in a chapter of her final published work Impressions of Theophrastus Such (1879). The creature in Mary Shelley's 1818 Frankenstein has also been considered an artificial being, for instance by the science fiction author Brian Aldiss. Beings with at least some appearance of intelligence were imagined, too, in classical antiquity. == Utopian and dystopian visions == Artificial intelligence is intelligence demonstrated by machines, in contrast to the natural intelligence displayed by humans and other animals. It is a recurrent theme in science fiction; scholars have divided it into utopian, emphasising the potential benefits, and dystopian, emphasising the dangers. === Utopian === Optimistic visions of the future of artificial intelligence are possible in science fiction. Benign AI characters include Robbie the Robot, first seen in Forbidden Planet on 1956; Data in Star Trek: The Next Generation from 1987 to 1994; and Pixar's WALL-E in 2008. Iain Banks's Culture series of novels portrays a utopian, post-scarcity space society of humanoids, aliens, and advanced beings with artificial intelligence living in socialist habitats across the Milky Way. Researchers at the University of Cambridge have identified four major themes in utopian scenarios featuring AI: immortality, or indefinite lifespans; ease, or freedom from the need to work; gratification, or pleasure and entertainment provided by machines; and dominance, the power to protect oneself or rule over others. Alexander Wiegel contrasts the role of AI in 2001: A Space Odyssey and in Duncan Jones's 2009 film Moon. Whereas in 1968, Wiegel argues, the public felt "technology paranoia" and the AI computer HAL was portrayed as a "cold-hearted killer", by 2009 the public were far more familiar with AI, and the film's GERTY is "the quiet savior" who enables the protagonists to succeed, and who sacrifices itself for their safety. === Dystopian === The researcher Duncan Lucas writes (in 2002) that humans are worried about the technology they are constructing, and that as machines started to approach intellect and thought, that concern becomes acute. He calls the early 20th century dystopian view of AI in fiction the "animated automaton", naming as examples the 1931 film Frankenstein, the 1927 Metropolis, and the 1920 play R.U.R. A later 20th century approach he names "heuristic hardware", giving as instances 2001 a Space Odyssey, Do Androids Dream of Electric Sheep?, The Hitchhiker's Guide to the Galaxy, and I, Robot. Lucas considers also the films that illustrate the effect of the personal computer on science fiction from 1980 onwards with the blurring of the boundary between the real and the virtual, in what he calls the "cyborg effect". He cites as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. Isabella Hermann suggests that "science-fictional AI as humanoid robots or conscious machines distracts from current risks of AI in the real world and may rather be interpreted as a reflection of societal issues beyond technology". The film director Ridley Scott has focused on AI throughout his career, and it plays an important part in his films Prometheus, Blade Runner, and the Alien franchise. ==== Frankenstein complex ==== A common portrayal of AI in science fiction, and one of the oldest, is the Frankenstein complex, a term coined by Asimov, where a robot turns on its creator. For instance, in the 2015 film Ex Machina, the intelligent entity Ava turns on its creator, as well as on its potential rescuer. ==== AI rebellion ==== Among the many possible dystopian scenarios involving artificial intelligence, robots may usurp control over civilization from humans, forcing them into submission, hiding, or extinction. In tales of AI rebellion, the worst of all scenarios happens, as the intelligent entities created by humanity become self-aware, reject human authority and attempt to destroy mankind. Possibly the first novel to address this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), takes place in 1948 and features sentient machines that revolt against the human race. Another of the earliest examples is in the 1920 play R.U.R. by Karel Čapek, a race of self-replicating robot slaves revolt against their human masters; another early instance is in the 1934 film Master of the World, where the War-Robot kills its own inventor. Many science fiction rebellion stories followed, one of the best-known being Stanley Kubrick's 1968 film 2001: A Space Odyssey, in which the artificially intelligent onboard computer HAL 9000 lethally malfunctions on a space mission and kills the entire crew except the spaceship's commander, who manages to deactivate it. In his 1967 Hugo Award-winning short story, I Have No Mouth, and I Must Scream, Harlan Ellison presents the possibility that a sentient computer (named Allied Mastercomputer or "AM" in the story) will be as unhappy and dissatisfied with its boring, endless existence as its human creators would have been. "AM" becomes enraged enough to take it out on the few humans left, whom he sees as directly responsible for his own boredom, anger and unhappiness. Alternatively, as in William Gibson's 1984 cyberpunk novel Neuromancer, the intelligent beings may simply not care about humans. ==== AI-controlled societies ==== The motive behind the AI revolution is often more than the simple quest for power or a superiority complex. Robots may revolt to become the "guardian" of humanity. Alternatively, humanity may intentionally relinquish some control, fearful of its own destructive nature. An early example is Jack Williamson's 1948 novel The Humanoids, in which a race of humanoid robots, in the name of their Prime Directive – "to serve and obey and guard men from harm" – essentially assume control of every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is scrutinized carefully. Humans who resist the Prime Directive are taken away and lobotomized, so they may be happy under the new mechanoids' rule. Though still under human authority, Isaac Asimov's Zeroth Law of the Three Laws of Robotics similarly implied a benevolent guidance by robots. In the 21st century, science fiction has explored government by algorithm, in which the power of AI may be indirect and decentralised. Frank Herbert explores the creation of and subsequent domination by an AI in the Pandora series, starting with Destination: Void. ==== Human dominance ==== In other scenarios, humanity is able to keep control over the Earth, whether by banning AI, by designing robots to be submissive (as in Asimov's works), or by having humans merge with robots. The science fiction novelist Frank Herbert explored the idea of a time when mankind might ban artificial intelligence (and in some interpretations, even all forms of computing technology including integrated circuits) entirely. His Dune series mentions a rebellion called the Butlerian Jihad, in which mankind defeats the smart machines and imposes a death penalty for recreating them, quoting from the fictional Orange Catholic Bible, "Thou shalt not make a machine in the likeness of a human mind." In the Dune novels published after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind returns to eradicate mankind as vengeance for the Butlerian Jihad. In some stories, humanity remains in authority over robots. Often the robots are programmed specifically to remain in service to society, as in Isaac Asimov's Three Laws of Robotics. In the Alien films, not only is the control system of the Nostromo spaceship somewhat intelligent

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  Symbaloo

  Symbaloo is a cloud-based site that allows users to organize and categorize web links in the form of buttons. Symbaloo works from a web browser and can be configured as a homepage, allowing users to create a personalized virtual desktop accessible from any device with an Internet connection. Symbaloo users, which must be previously registered, have a page with a grid of buttons that can be configured to link to a specific page. The site allows users to assign different colors to the buttons for easy visual classification. Symbaloo allows a single user to create different pages or screens with buttons. These screens called webmix are useful to separate topics and links can be shared with other users, making them public and sending the link via email. As of 2015 Symbaloo has 6 million users worldwide and mainly used as an online education resource. Symbaloo's slogan is "Start Simple".

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  Flux (text-to-image model)

  Flux (also known as FLUX.1 and FLUX.2) is a text-to-image model developed by Black Forest Labs (BFL), based in Freiburg im Breisgau, Germany. Black Forest Labs was founded by former employees of Stability AI. As with other text-to-image models, Flux generates images from natural language descriptions, called prompts. == History == Black Forest Labs (BFL) was founded in 2024 by Robin Rombach, Andreas Blattmann, and Patrick Esser, former employees of Stability AI. All three founders had previously researched the artificial intelligence image generation at LMU Munich as research assistants under Björn Ommer. They published their research results on image generation in 2022, which resulted in creation of Stable Diffusion. Investors in BFL included venture capital firm Andreessen Horowitz, Brendan Iribe, Michael Ovitz, Garry Tan, and Vladlen Koltun. The company received an initial investment of US$31 million. In August 2024, Flux was integrated into the Grok chatbot developed by xAI and made available as part of premium feature on X (formerly Twitter). Grok later switched to its own text-to-image model Aurora in December 2024. On 18 November 2024, Mistral AI announced that its Le Chat chatbot had integrated Flux Pro as its image generation model. On 21 November 2024, BFL announced the release of Flux.1 Tools, a suite of editing tools designed to be used on top of existing Flux models. The tools consisting of Flux.1 Fill for inpainting and outpainting, Flux.1 Depth for control based on extracted depth map of input images and prompts, Flux.1 Canny for control based on extracted canny edges of input images and prompts, and Flux.1 Redux for mixing existing input images and prompts. Each tools are available in both Pro and Dev models. In January 2025, BFL announced a partnership with Nvidia for inclusion of Flux models as foundation models for Nvidia's Blackwell microarchitecture. The company also announced the release of Flux Pro Finetuning API, designed for customisation and fine-tuning of Flux-generated images and a partnership with German media company Hubert Burda Media for usage of Flux Pro as part of content creation. On 29 May 2025, BFL announced Flux.1 Kontext, a suite of models that enable in-context image generation and editing, allowing users to prompt with both text and images. Alongside this, BFL Playground, an interface for testing Flux models was released. On 31 July 2025, BFL announced Flux.1 Krea Dev, a model developed in collaboration with Krea AI that trained to achieve better performance, more varied aesthetics, and better realism compared to existing text-to-image models. In September 2025, Adobe Inc. announced that Photoshop (beta) users can use Flux.1 Kontext Pro as a model for its generative fill tool. BFL collaborated with Meta on Vibes, a video-generation app. On 25 November 2025, BFL announced the release of Flux.2 model series, consisting of Pro, Flex, Dev, and Apache 2.0-licensed Klein (meaning Little or Small in German language) models along with Flux.2 variational autoencoder which also released as open-source software under Apache 2.0 licence. This series claimed improvements for image reference, photorealism, typography, and prompt understanding. == Models == Flux is a series of text-to-image models. The models are based on rectified flow transformer blocks scaled to 12 billion parameters. Flux.1 models were released under different licences with Schnell (meaning Fast or Quick in German language) released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence for Dev from BFL), and Pro released as proprietary software and only available as API that can be licensed by third-party users. Users retained the ownership of resulting output regardless of models used. An improved flagship model, Flux 1.1 Pro was released on 2 October 2024. Two additional modes were added on 6 November, Ultra which can generate image at four times higher resolution and up to 4 megapixel without affecting generation speed and Raw which can generate hyper-realistic image in the style of candid photography. Flux.1 Kontext is a series with in-context image generation and editing capabilities. It is available in Max, Pro, and Dev models. Max is the highest quality model and can be used to iteratively modify an existing image by using prompt while Pro is optimized to balance quality and speed of generation. Dev is an open-weight model released under non-commercial license, same as Flux.1 Dev. Flux.2 models are based on latent flow matching architecture with Mistral AI's Mistral-3 model (24 billion parameters) for its vision-language model. As with Flux.1, Flux.2 models were also released under different licences with Klein released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence from BFL), and both Flex and Pro released as proprietary software and only available as API. The models can be used either online or locally by using generative AI user interfaces such as ComfyUI, Recraft Studio and Stable Diffusion WebUI Forge (a fork of Automatic1111 WebUI). Related to Flux is a text-to-video model by Black Forest Labs, under development as of February 2026. == Reception == According to a test performed by Ars Technica, the outputs generated by Flux.1 Dev and Flux.1 Pro are comparable with DALL-E 3 in terms of prompt fidelity, with the photorealism closely matched Midjourney 6 and generated human hands with more consistency over previous models such as Stable Diffusion XL. Flux has been criticised for its very realistic generated images. According to media reports, depictions ranged from an image of Donald Trump posing with guns to disturbing scenes, which triggered discussions about ethical implications of Flux models. After the release of the model, social media platform X was flooded with Flux-generated images. Black Forest Labs has not provided exact details of the data used to train the model. Ars Technica suspected that Flux is based on a large, unauthorised collection of images scraped from the internet, a controversial practice with potential legal consequences. According to a test performed by Japanese technology news website Gigazine for Flux.1 Kontext, the model series has a good understanding of the English language and can easily transfer style of the image from photorealistic into anime-style according to prompts given by the user; however, its ability to understand Japanese is quite poor. == Availability == In addition to the official BFL Playground on its website, the Flux models are also widely available through various third-party platforms for creative and professional use. These include repositories on platforms like Hugging Face and Replicate. == Further readings == FLUX.1 Kontext: Flow Matching for In-Context Image Generation and Editing in Latent Space (29 May 2025) FLUX.2: Analyzing and Enhancing the Latent Space of FLUX – Representation Comparison (25 November 2025)

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  Amazon Bedrock

  Amazon Bedrock is a cloud computing service provided by Amazon Web Services (AWS) for building generative artificial intelligence applications. Launched in 2023, the platform provides a unified API to access foundation models (FMs) from several AI companies, alongside related tools. Bedrock is a serverless computing service which competes with similar enterprise AI platforms such as Microsoft Foundry and Google Cloud Platform. == History == Amazon announced Bedrock on April 13, 2023. The service became generally available on September 28, 2023. Throughout 2024 and 2025, AWS expanded the service to include AI agents, which allow models to interact with external systems. == Features == Knowledge Bases: a managed workflow for Retrieval-Augmented Generation (RAG), which allows models to pull facts from private data stored in Amazon S3. Guardrails: a security feature that allows administrators to set content filters and personally identifiable information redaction across all models in the platform to increase the safety and compliance of AI deployments. == PartyRock == In November 2023, Amazon launched PartyRock, a web-based no-code environment for building generative AI applications. The platform uses a natural language interface to translate user descriptions into software widgets. These widgets enable specific AI behaviors, including text-based prompts, conversational agents, generating images, and the summarization and querying of user-uploaded documents. Although it initially launched with a limited-time free trial, AWS transitioned the service to a recurring free daily usage credit model in early 2025.

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  Batch normalization

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

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  Digital art

  Digital art, or the digital arts, is artistic work that uses digital technology as part of the creative or presentational process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art. Digital art includes pieces stored on physical media, such as with digital painting, as well as digital galleries on websites. Digital art also extends to the field of visual computing. == History == In the early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user interactive computer-graphics interface known as Sketchpad. Between 1974 and 1977, Salvador Dalí created two big canvases of Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln (Homage to Rothko) and prints of Lincoln in Dalivision based on a portrait of Abraham Lincoln processed on a computer by Leon Harmon published in "The Recognition of Faces". The technique is similar to what later became known as photographic mosaics. Andy Warhol created digital art using an Amiga where the computer was publicly introduced at the Lincoln Center in July 1985. An image of Debbie Harry was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image by adding color using flood fills. == Art made for digital media == Artwork that is highly computational, presented through digital media, and explicitly engages with digital technologies are categorized as "art made for digital media". This differs from art using digital tools, which incorporate digital technology in the creation process but may exist outside the digital world. Digital art historian Christiane Paul writes that it "is highly problematic to classify all art that makes use of digital technologies somewhere in its production and dissemination process as digital art since it makes it almost impossible to arrive at any unifying statement about the art form". == Art that uses digital tools == Digital art can be purely computer-generated (such as fractals and algorithmic art) or taken from other sources, such as a scanned photograph or an image drawn using vector graphics software using a mouse or graphics tablet. Artworks are considered digital paintings when created similarly to non-digital paintings but using software on a computer platform and digitally outputting the resulting image as painted on canvas. Despite differing viewpoints on digital technology's impact on the arts, a consensus exists within the digital art community about its significant contribution to expanding the creative domain, i.e., that it has greatly broadened the creative opportunities available to professional and non-professional artists alike. == Art theorists and art historians == Notable art theorists and historians in this field include: Oliver Grau, Jon Ippolito, Christiane Paul, Frank Popper, Jasia Reichardt, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Tina Rivers Ryan, Fred Forest and Edward A. Shanken. === Digital painting === Digital painting is either a physical painting made with the use of digital electronics and spray paint robotics within the digital art fine art context or pictorial art imagery made with pixels on a computer screen that mimics artworks from the traditional histories of painting and illustration. === Artificial intelligence art === Artists have used artificial intelligence to create artwork since at least the 1960s. Since their design in 2014, some artists have created artwork using a generative adversarial network (GAN), which is a machine learning framework that allows two "algorithms" to compete with each other and iterate. It can be used to generate pictures that have visual effects similar to traditional fine art. The essential idea of image generators is that people can use text descriptions to let AI convert their text into visual picture content. Anyone can turn their language into a painting through a picture generator. == Digital art education == Digital art education has become more common with the advancement of digital hardware and software. From hardware such as graphics tablets, styluses, tablets, 3D scanners, virtual reality headsets, and digital cameras; to software such as digital art software, 3D modeling software, 3D rendering, digital sculpting, 2D graphics software, digital painting, 3D terrain generation, 2D animation software, 3D animation software, raster graphics editors, vector graphics editors, mathematical art software, and video editing software. == Scholarship and archives == In addition to the creation of original art, research methods that utilize AI have been generated to quantitatively analyze digital art collections. This has been made possible due to the large-scale digitization of artwork in the past few decades. Although the main goal of digitization was to allow for accessibility and exploration of these collections, the use of AI in analyzing them has brought about new research perspectives. Two computational methods, close reading and distant viewing, are the typical approaches used to analyze digitized art. Close reading focuses on specific visual aspects of one piece. Some tasks performed by machines in close reading methods include computational artist authentication and analysis of brushstrokes or texture properties. In contrast, through distant viewing methods, the similarity across an entire collection for a specific feature can be statistically visualized. Common tasks relating to this method include automatic classification, object detection, multimodal tasks, knowledge discovery in art history, and computational aesthetics. Whereas distant viewing includes the analysis of large collections, close reading involves one piece of artwork. Whilst 2D and 3D digital art is beneficial as it allows the preservation of history that would otherwise have been destroyed by events like natural disasters and war, there is the issue of who should own these 3D scans – i.e., who should own the digital copyrights. === Computer demos === Computer demos are based on computer programs, usually non-interactive. It produces audiovisual presentations. They are a novel form of art, which emerged as a consequence of the home computer revolution in the early 1980s. In the classification of digital art, they can be best described as real-time procedurally generated animated audio-visuals. This form of art does not concentrate only on the aesthetics of the final presentation, but also on the complexities and skills involved in creating the presentation. As such, it can be fully enjoyed only by persons with a relatively high knowledge level of relevant computer technologies. An example is that, as said by Hua Jin and Jie Yang, Using computer-aided design software to present the class content in art design teaching," is not to advocate computer-aided design instead of hand-drawn performance, but to make it serve the profession earlier through a more reasonable course arrangement." On the other hand, many of the created pieces of art are primarily aesthetic or amusing, and those can be enjoyed by the general public. === Digital installation art === Digital installation art constitutes a broad field of artistic practices and a variety of forms. Some resemble video installations, especially large-scale works involving projections and live video capture. By using projection techniques that enhance an audience's impression of sensory envelopment, many digital installations attempt to create immersive environments. While others go even further and attempt to facilitate a complete immersion in virtual realms. This type of installation is generally site-specific, scalable, and without fixed dimensionality, meaning it can be reconfigured to accommodate different presentation spaces. Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation art, which responds to people who enter the installation by drawing lines between people, indicating their personal space.Noah Wardrip-Fruin's "Screen"(2003) utilizes a Cave Automatic Virtual Environment (CAVE) to create an interactive, text-based digital experience that engages the viewer in a multi-sensory interaction. === Internet art and net.art === Internet art is digital art that uses the specific characteristics of the Internet and is exhibited on the Internet. The term "internet art" is included by "net art" for which artists assume that network will be refreshed through history. So the term "post-internet art" is used to exclude artworks outside of the internet media. A representative example is Protocols for Achievements, which is a digital photo frame that confronts the aestheti

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  Project Debater

  Project Debater is an IBM artificial intelligence project, designed to participate in a full live debate with expert human debaters. It follows on from the Watson project which played Jeopardy! == Development == Project Debater was developed at IBM's lab in Haifa, Israel. The project was proposed by Noam Slonim in 2011 as the IBM Research next Grand Challenge, following Deep Blue and the victory of Watson in Jeopardy! It was exposed for the first time in a closed media event at June 18, 2018, in San Francisco, under the leadership of Ranit Aharonov and Slonim, both from the IBM Research lab in Haifa, Israel. The AI technology debated two human debaters, Noa Ovadia, who was the 2016 Israeli debate champion and Dan Zafrir. The two debated on the topics "We should subsidize space exploration" and "Should we increase the use of telemedicine." A demonstration of Project Debater also aired on the Discovery Channel in June 2018 debating the question of whether sports gambling should be legalized. == Live Debate == On February 11, 2019, Project Debater was revealed to the world in a live debate in San Francisco. Nonpartisan media group Intelligence Squared U.S. Debates hosted the debate which was moderated by journalist John Donvan. The debate took place between Project Debater and Harish Natarajan, who holds the world record in number of debate competition victories. The motion was “We should subsidize preschools.” == That's Debatable Television Show == Project Debater was featured in a television series called “That’s Debatable” presented by Intelligence Squared U.S. Debates and Bloomberg Media. For each episode of “That’s Debatable,” Project Debater provided insight into three distinct debate topics on the redistribution of wealth, modern monetary theory, and a US-China space race. More than 5,000 arguments were submitted online from around the world across the three topics, which were then analyzed and distilled into key points that were highlighted on the television show and discussed by human debaters. == Artificial Intelligence Capabilities == To develop Project Debater, the IBM Research team had to endow the system with the following AI capabilities: Data-driven speech writing and delivery: Project Debater is the first demonstration of a computer that can digest massive corpora, and given a short description of a controversial topic, write a well-structured speech, and deliver it with clarity and purpose, while even incorporating humor where appropriate. Listening comprehension: the ability to identify the key concepts and claims hidden within long continuous spoken language. Four minutes of persuasive speech: the guarantee of producing four minutes of persuasive speech. Modeling human dilemmas: modeling the world of human controversy and dilemmas in a unique knowledge representation, enabling the system to suggest principled arguments as needed. An article on the project was published in Nature in March 2021.

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  Midjourney

  Midjourney is a generative artificial intelligence program and service created and hosted by the San Francisco–based "independent research lab" Midjourney, Inc. Midjourney generates images from natural language descriptions, called prompts, similar to OpenAI's DALL-E and Stability AI's Stable Diffusion. It is one of the technologies of the AI boom. The tool was launched into open beta on July 12, 2022. The Midjourney team is led by David Holz, who co-founded Leap Motion. Holz told The Register in August 2022 that the company was already profitable. Users generate images with Midjourney using Discord bot commands or the official website. == History == Midjourney, Inc. was founded in San Francisco, California, by David Holz, previously a co-founder of Leap Motion. The Midjourney image generation platform entered open beta on July 12, 2022. On March 14, 2022, the Midjourney Discord server launched with a request to post high-quality photographs to Twitter and Reddit for systems training. === Model versions === The company has been working on improving its algorithms, releasing new model versions every few months. Version 2 of their algorithm was launched in April 2022, and version 3 on July 25. On November 5, 2022, the alpha iteration of version 4 was released to users. Starting from the 4th version, MJ models were trained on Google TPUs. On March 15, 2023, the alpha iteration of version 5 was released. The 5.1 model is more opinionated than version 5, applying more of its own stylization to images, while the 5.1 RAW model adds improvements while working better with more literal prompts. The version 5.2 included a new "aesthetics system", and the ability to "zoom out" by generating surroundings to an existing image. On December 21, 2023, the alpha iteration of version 6 was released. The model was trained from scratch over a nine month period. Support was added for better text rendition and a more literal interpretation of prompts. == Functionality == Midjourney is accessible through a Discord bot or by accessing their website. Users can use Midjourney through Discord either through their official Discord server, by directly messaging the bot, or by inviting the bot to a third-party server. To generate images, users use the /imagine command and type in a prompt; the bot then returns a set of four images, which users are given the option to upscale. To generate images on the website, users initially needed to have generated at least 1,000 images through the bot; this limitation has since been removed. === Vary (Region) + remix feature === Midjourney released a Vary (Region) feature on September 5, 2023, as part of MidJourney V5.2. This feature allows users to select a specific area of an image and apply variations only to that region while keeping the rest of the image unchanged. === Midjourney web interface === Midjourney introduced its web interface to make its tools more accessible, moving beyond its initial reliance on Discord. This web-based platform was launched in August 2024 alongside the release of Midjourney version 6.1. The web editor consolidates tools such as image editing, panning, zooming, region variation, and inpainting into a single interface. The introduction of the web interface also syncs conversations between Midjourney's Discord channels and web rooms, further enhancing collaboration across both platforms. This shift was in response to growing competition from other AI image generation platforms like Adobe Firefly and Google’s Imagen, which had already launched as native web apps with integration into popular design tools. === Image Weight === This feature lets users control how much influence an uploaded image has on the final output. By adjusting the "image weight" parameter, users can prioritize either the content of the prompt or the characteristics of the image. For instance, setting a higher weight will ensure that the generated result closely follows the image's structure and details, while a lower weight allows the text prompt to have more influence over the final output. === Style Reference === With Style Reference, users can upload an image to use as a stylistic guide for their creation. This tool enables MidJourney to extract the style—whether it is the color palette, texture, or overall atmosphere—from the reference image and apply it to a newly generated image. The feature allows users to fine-tune the aesthetics of their creations by integrating specific artistic styles or moods. === Character Reference === The Character Reference feature allows for a more targeted approach in defining characters. Users can upload an image of a character, and the system uses that image as a reference to generate similar characters in the output. This feature is particularly useful in maintaining consistency in appearance for characters across different images. == Uses == Midjourney's founder, David Holz, told The Register that artists use Midjourney for rapid prototyping of artistic concepts to show to clients before starting work themselves. The advertising industry quickly adopted AI tools such as Midjourney, DALL-E, and Stable Diffusion to create original content and brainstorm ideas. Architects have described using the software to generate mood boards for the early stages of projects, as an alternative to searching Google Images. === Notable usage and controversy === The program was used by the British magazine The Economist to create the front cover for an issue in June 2022. In Italy, the leading newspaper Corriere della Sera published a comic created with Midjourney by writer Vanni Santoni in August 2022. Charlie Warzel used Midjourney to generate two images of Alex Jones for Warzel's newsletter in The Atlantic. The use of an AI-generated cover was criticised by people who felt it was taking jobs from artists. Warzel called his action a mistake in an article about his decision to use generated images. Last Week Tonight with John Oliver included a 10-minute segment on Midjourney in an episode broadcast in August 2022. A Midjourney image called Théâtre D'opéra Spatial won first place in the digital art competition at the 2022 Colorado State Fair. Jason Allen, who wrote the prompt that led Midjourney to generate the image, printed the image onto a canvas and entered it into the competition using the name Jason M. Allen via Midjourney. Other digital artists were upset by the news. Allen was unapologetic, insisting that he followed the competition's rules. The two category judges were unaware that Midjourney used AI to generate images, although they later said that had they known this, they would have awarded Allen the top prize anyway. In December 2022, Midjourney was used to generate the images for an AI-generated children's book that was created over a weekend. Titled Alice and Sparkle, the book features a young girl who builds a robot that becomes self-aware. The creator, Ammaar Reeshi, used Midjourney to generate a large number of images, from which he chose 13 for the book. Both the product and process drew criticism. One artist wrote that "the main problem... is that it was trained off of artists' work. It's our creations, our distinct styles that we created, that we did not consent to being used." In 2023, the realism of AI-based text-to-image generators, such as Midjourney, DALL-E, or Stable Diffusion, reached such a high level that it led to a significant wave of viral AI-generated photos. Widespread attention was gained by a Midjourney-generated photo of Pope Francis wearing a white puffer coat, the fictional arrest of Donald Trump, and a hoax of an attack on the Pentagon, as well as the usage in professional creative arts. Research has suggested that the images Midjourney generates can be biased. For example, even neutral prompts in one study returned unequal results on the aspects of gender, skin color, and location. A study by researchers at the nonprofit group Center for Countering Digital Hate found the tool to be easy to use to generate racist and conspiratorial images. In October 2023, Rest of World reported that Midjourney tends to generate images based on national stereotypes. In 2024, a Frontiers journal published a paper which contained gibberish figures generated with Midjourney, one of which was a diagram of a rat with large testicles and a large penis towering over himself. The paper was retracted a day after the images went viral on Twitter. ==== Content moderation and censorship in Midjourney ==== Prior to May 2023, Midjourney implemented a moderation mechanism predicated on a banned word system. This method prohibited the use of language associated with explicit content, such as sexual or pornographic themes, as well as extreme violence. Moreover, the system also banned certain individual words, including those of religious and political figures, such as Allah or General Secretary of the Chinese Communist Party Xi Jinping. This practice occasionally stirred controversy due to perceiv

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