AI Chatbot Options

AI Chatbot Options — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • WS-SecurityPolicy

    WS-SecurityPolicy

    WS-Security Policy is a web services specification, created by IBM and 12 co-authors, that has become an OASIS standard as of version 1.2. It extends the fundamental security protocols specified by the WS-Security, WS-Trust and WS-Secure Conversation by offering mechanisms to represent the capabilities and requirements of web services as policies. Security policy assertions are based on the WS-Policy framework. Policy assertions can be used to require more generic security attributes like transport layer security , message level security or timestamps, and specific attributes like token types. Most policy assertion can be found in following categories: Protection assertions identify the elements of a message that are required to be signed, encrypted or existent. Token assertions specify allowed token formats (SAML, X509, Username etc.). Security binding assertions control basic security safeguards like transport and message level security, cryptographic algorithm suite and required timestamps. Supporting token assertions add functions like user sign-on using a username token. Policies can be used to drive development tools to generate code with certain capabilities, or may be used at runtime to negotiate the security aspects of web service communication. Policies may be attached to WSDL elements such as service, port, operation and message, as defined in WS Policy Attachment. == Sample Policies == Namespaces used by the following XML-snippets: ... Include a timestamp: Use either transport layer security (https) or message level security (XML Dsig/XML Enc): ... ... To define a SAML assertion as security token: ...#SAMLV2.0 Issued token assertion of providers with reference to the STS and required token format: http://sampleorg.com/sts http://docs.oasis-open.org/wss/oasis-wss-saml-token-profile-1.0#SAMLAssertionID ... ... Specify that message header and body need to be signed, and attachments are left unsigned: ? ... specify that message open source license need to be signed, and hydra security are left unsigned: ? ... == Other WS policy languages == The term Web Services Security Policy Language is used for two different XML-based languages: As described above, based on the WS-Policy framework, as defined in, published as version 1.3 in Feb. 2009 WSPL, based on XACML profile for Web-services, but that was not finalized.

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  • Type-1 OWA operators

    Type-1 OWA operators

    Type-1 OWA operators are a set of aggregation operators that generalise the Yager's OWA (ordered weighted averaging) operators in the interest of aggregating fuzzy sets rather than crisp values in soft decision making and data mining. These operators provide a mathematical technique for directly aggregating uncertain information with uncertain weights via OWA mechanism in soft decision making and data mining, where these uncertain objects are modelled by fuzzy sets. The two definitions for type-1 OWA operators are based on Zadeh's Extension Principle and α {\displaystyle \alpha } -cuts of fuzzy sets. The two definitions lead to equivalent results. == Definitions == === Definition 1 === Let F ( X ) {\displaystyle F(X)} be the set of fuzzy sets with domain of discourse X {\displaystyle X} , a type-1 OWA operator is defined as follows: Given n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,1]} , a type-1 OWA operator is a mapping, Φ {\displaystyle \Phi } , Φ : F ( X ) × ⋯ × F ( X ) ⟶ F ( X ) {\displaystyle \Phi \colon F(X)\times \cdots \times F(X)\longrightarrow F(X)} ( A 1 , ⋯ , A n ) ↦ Y {\displaystyle (A^{1},\cdots ,A^{n})\mapsto Y} such that μ Y ( y ) = sup ∑ k = 1 n w ¯ i a σ ( i ) = y ( μ W 1 ( w 1 ) ∧ ⋯ ∧ μ W n ( w n ) ∧ μ A 1 ( a 1 ) ∧ ⋯ ∧ μ A n ( a n ) ) {\displaystyle \mu _{Y}(y)=\displaystyle \sup _{\displaystyle \sum _{k=1}^{n}{\bar {w}}_{i}a_{\sigma (i)}=y}\left({\begin{array}{{1}l}\mu _{W^{1}}(w_{1})\wedge \cdots \wedge \mu _{W^{n}}(w_{n})\wedge \mu _{A^{1}}(a_{1})\wedge \cdots \wedge \mu _{A^{n}}(a_{n})\end{array}}\right)} where w ¯ i = w i ∑ i = 1 n w i {\displaystyle {\bar {w}}_{i}={\frac {w_{i}}{\sum _{i=1}^{n}{w_{i}}}}} , and σ : { 1 , ⋯ , n } ⟶ { 1 , ⋯ , n } {\displaystyle \sigma \colon \{1,\cdots ,n\}\longrightarrow \{1,\cdots ,n\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\ \forall i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th highest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . === Definition 2 === Using the alpha-cuts of fuzzy sets: Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , then for each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,\;1]} , an α {\displaystyle \alpha } -level type-1 OWA operator with α {\displaystyle \alpha } -level sets { W α i } i = 1 n {\displaystyle \left\{{W_{\alpha }^{i}}\right\}_{i=1}^{n}} to aggregate the α {\displaystyle \alpha } -cuts of fuzzy sets { A i } i = 1 n {\displaystyle \left\{{A^{i}}\right\}_{i=1}^{n}} is: Φ α ( A α 1 , … , A α n ) = { ∑ i = 1 n w i a σ ( i ) ∑ i = 1 n w i | w i ∈ W α i , a i ∈ A α i , i = 1 , … , n } {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\ldots ,A_{\alpha }^{n}}\right)=\left\{{{\frac {\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}}}{\sum \limits _{i=1}^{n}{w_{i}}}}\left|{w_{i}\in W_{\alpha }^{i},\;a_{i}}\right.\in A_{\alpha }^{i},\;i=1,\ldots ,n}\right\}} where W α i = { w | μ W i ( w ) ≥ α } , A α i = { x | μ A i ( x ) ≥ α } {\displaystyle W_{\alpha }^{i}=\{w|\mu _{W_{i}}(w)\geq \alpha \},A_{\alpha }^{i}=\{x|\mu _{A_{i}}(x)\geq \alpha \}} , and σ : { 1 , ⋯ , n } → { 1 , ⋯ , n } {\displaystyle \sigma :\{\;1,\cdots ,n\;\}\to \{\;1,\cdots ,n\;\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\;\forall \;i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th largest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . == Representation theorem of Type-1 OWA operators == Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , and the fuzzy sets A 1 , ⋯ , A n {\displaystyle A^{1},\cdots ,A^{n}} , then we have that Y = G {\displaystyle Y=G} where Y {\displaystyle Y} is the aggregation result obtained by Definition 1, and G {\displaystyle G} is the result obtained by in Definition 2. == Programming problems for Type-1 OWA operators == According to the Representation Theorem of Type-1 OWA Operators, a general type-1 OWA operator can be decomposed into a series of α {\displaystyle \alpha } -level type-1 OWA operators. In practice, this series of α {\displaystyle \alpha } -level type-1 OWA operators is used to construct the resulting aggregation fuzzy set. So we only need to compute the left end-points and right end-points of the intervals Φ α ( A α 1 , ⋯ , A α n ) {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)} . Then, the resulting aggregation fuzzy set is constructed with the membership function as follows: μ G ( x ) = ⋁ α : x ∈ Φ α ( A α 1 , ⋯ , A α n ) α ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{\alpha }}\alpha } For the left end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) − = min W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{-}=\operatorname {\min } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} while for the right end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) + = max W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{+}=\operatorname {\max } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} A fast method has been presented to solve two programming problem so that the type-1 OWA aggregation operation can be performed efficiently, for details, please see the paper. == Alpha-level approach to Type-1 OWA operation == Three-step process: Step 1—To set up the α {\displaystyle \alpha } - level resolution in [0, 1]. Step 2—For each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} , Step 2.1—To calculate ρ α + i 0 ∗ {\displaystyle \rho _{\alpha +}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α + i 0 ≥ A α + σ ( i 0 ) {\displaystyle \rho _{\alpha +}^{i_{0}}\geq A_{\alpha +}^{\sigma (i_{0})}} , stop, ρ α + i 0 {\displaystyle \rho _{\alpha +}^{i_{0}}} is the solution; otherwise go to Step 2.1-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to Step 2.1-2. Step 2.2 To calculate ρ α − i 0 ∗ {\displaystyle \rho _{\alpha -}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α − i 0 ≥ A α − σ ( i 0 ) {\displaystyle \rho _{\alpha -}^{i_{0}}\geq A_{\alpha -}^{\sigma (i_{0})}} , stop, ρ α − i 0 {\displaystyle \rho _{\alpha -}^{i_{0}}} is the solution; otherwise go to Step 2.2-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to step Step 2.2-2. Step 3—To construct the aggregation resulting fuzzy set G {\displaystyle G} based on all the available intervals [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] {\displaystyle \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]} : μ G ( x ) = ⋁ α : x ∈ [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]}\alpha } == Some Examples == The type-1 OWA operator with the weights shown in the top figure is used to aggregate the fuzzy sets (solide lines) in the bottom figure, and the dashed line is the aggregation result. == Special cases == Any OWA operators, like maximum, minimum, mean operators; Join operators of (type-1) fuzzy sets, i.e., fuzzy maximum operators; Meet operators of (type-1) fuzzy sets, i.e., fuzzy minimum operators; Join-like operators of (type-1) fuzzy sets; Meet-like operators of (type-1) fuzzy sets. == Generalizations == Type-2 OWA operators have been suggested to aggregate the type-2 fuzzy sets for soft decision making. == Applications == Type-1 OWA operators have been applied to different domains for soft decision making. Improved efficiency of computing approach ; Type reduction of type-2 fuzzy sets ; Group decision making ; Credit risk evaluation ; Information fusion ; Linguistic expressions and symbolic translation ; Sentiment analysis ; Ro

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  • Split Up (expert system)

    Split Up (expert system)

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

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  • Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

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  • Word error rate

    Word error rate

    Word error rate (WER) is a common metric of the performance of a speech recognition or machine translation system. The WER metric typically ranges from 0 to 1, where 0 indicates that the compared pieces of text are exactly identical, and 1 (or larger) indicates that they are completely different with no similarity. This way, a WER of 0.8 means that there is an 80% error rate for compared sentences. The general difficulty of measuring performance lies in the fact that the recognized word sequence can have a different length from the reference word sequence (supposedly the correct one). The WER is derived from the Levenshtein distance, working at the word level instead of the phoneme level. The WER is a valuable tool for comparing different systems as well as for evaluating improvements within one system. This kind of measurement, however, provides no details on the nature of translation errors and further work is therefore required to identify the main source(s) of error and to focus any research effort. This problem is solved by first aligning the recognized word sequence with the reference (spoken) word sequence using dynamic string alignment. Examination of this issue is seen through a theory called the power law that states the correlation between perplexity and word error rate. Word error rate can then be computed as: W E R = S + D + I N = S + D + I S + D + C {\displaystyle {\mathit {WER}}={\frac {S+D+I}{N}}={\frac {S+D+I}{S+D+C}}} where S is the number of substitutions, D is the number of deletions, I is the number of insertions, C is the number of correct words, N is the number of words in the reference (N=S+D+C) The intuition behind 'deletion' and 'insertion' is how to get from the reference to the hypothesis. So if we have the reference "This is wikipedia" and hypothesis "This _ wikipedia", we call it a deletion. Note that since N is the number of words in the reference, the word error rate can be larger than 1.0, namely if the number of insertions I is larger than the number of correct words C. When reporting the performance of a speech recognition system, sometimes word accuracy (WAcc) is used instead: W A c c = 1 − W E R = N − S − D − I N = C − I N {\displaystyle {\mathit {WAcc}}=1-{\mathit {WER}}={\frac {N-S-D-I}{N}}={\frac {C-I}{N}}} Since the WER can be larger than 1.0, the word accuracy can be smaller than 0.0. == Experiments == It is commonly believed that a lower word error rate shows superior accuracy in recognition of speech, compared with a higher word error rate. However, at least one study has shown that this may not be true. In a Microsoft Research experiment, it was shown that, if people were trained under "that matches the optimization objective for understanding", (Wang, Acero and Chelba, 2003) they would show a higher accuracy in understanding of language than other people who demonstrated a lower word error rate, showing that true understanding of spoken language relies on more than just high word recognition accuracy. == Other metrics == One problem with using a generic formula such as the one above, however, is that no account is taken of the effect that different types of error may have on the likelihood of successful outcome, e.g. some errors may be more disruptive than others and some may be corrected more easily than others. These factors are likely to be specific to the syntax being tested. A further problem is that, even with the best alignment, the formula cannot distinguish a substitution error from a combined deletion plus insertion error. Hunt (1990) has proposed the use of a weighted measure of performance accuracy where errors of substitution are weighted at unity but errors of deletion and insertion are both weighted only at 0.5, thus: W E R = S + 0.5 D + 0.5 I N {\displaystyle {\mathit {WER}}={\frac {S+0.5D+0.5I}{N}}} There is some debate, however, as to whether Hunt's formula may properly be used to assess the performance of a single system, as it was developed as a means of comparing more fairly competing candidate systems. A further complication is added by whether a given syntax allows for error correction and, if it does, how easy that process is for the user. There is thus some merit to the argument that performance metrics should be developed to suit the particular system being measured. Whichever metric is used, however, one major theoretical problem in assessing the performance of a system is deciding whether a word has been “mis-pronounced,” i.e. does the fault lie with the user or with the recogniser. This may be particularly relevant in a system which is designed to cope with non-native speakers of a given language or with strong regional accents. The pace at which words should be spoken during the measurement process is also a source of variability between subjects, as is the need for subjects to rest or take a breath. All such factors may need to be controlled in some way. For text dictation it is generally agreed that performance accuracy at a rate below 95% is not acceptable, but this again may be syntax and/or domain specific, e.g. whether there is time pressure on users to complete the task, whether there are alternative methods of completion, and so on. The term "Single Word Error Rate" is sometimes referred to as the percentage of incorrect recognitions for each different word in the system vocabulary. == Edit distance == The word error rate may also be referred to as the length normalized edit distance. The normalized edit distance between X and Y, d( X, Y ) is defined as the minimum of W( P ) / L ( P ), where P is an editing path between X and Y, W ( P ) is the sum of the weights of the elementary edit operations of P, and L(P) is the number of these operations (length of P).

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  • Pop music automation

    Pop music automation

    Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles

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  • Tilly Norwood

    Tilly Norwood

    Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th

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  • Thompson sampling

    Thompson sampling

    Thompson sampling, named after William R. Thompson, is a heuristic for choosing actions that address the exploration–exploitation dilemma in the multi-armed bandit problem. It consists of choosing the action that maximizes the expected reward with respect to a randomly drawn belief. == Description == Consider a set of contexts X {\displaystyle {\mathcal {X}}} , a set of actions A {\displaystyle {\mathcal {A}}} , and rewards in R {\displaystyle \mathbb {R} } . The aim of the player is to play actions under the various contexts, such as to maximize the cumulative rewards. Specifically, in each round, the player obtains a context x ∈ X {\displaystyle x\in {\mathcal {X}}} , plays an action a ∈ A {\displaystyle a\in {\mathcal {A}}} and receives a reward r ∈ R {\displaystyle r\in \mathbb {R} } following a distribution that depends on the context and the issued action. The elements of Thompson sampling are as follows: a likelihood function P ( r | θ , a , x ) {\displaystyle P(r|\theta ,a,x)} ; a set Θ {\displaystyle \Theta } of parameters θ {\displaystyle \theta } of the distribution of r {\displaystyle r} ; a prior distribution P ( θ ) {\displaystyle P(\theta )} on these parameters; past observations triplets D = { ( x ; a ; r ) } {\displaystyle {\mathcal {D}}=\{(x;a;r)\}} ; a posterior distribution P ( θ | D ) ∝ P ( D | θ ) P ( θ ) {\displaystyle P(\theta |{\mathcal {D}})\propto P({\mathcal {D}}|\theta )P(\theta )} , where P ( D | θ ) {\displaystyle P({\mathcal {D}}|\theta )} is the likelihood function. Thompson sampling consists of playing the action a ∗ ∈ A {\displaystyle a^{\ast }\in {\mathcal {A}}} according to the probability that it maximizes the expected reward; action a ∗ {\displaystyle a^{\ast }} is chosen with probability ∫ I [ E ( r | a ∗ , x , θ ) = max a ′ E ( r | a ′ , x , θ ) ] P ( θ | D ) d θ , {\displaystyle \int \mathbb {I} \left[\mathbb {E} (r|a^{\ast },x,\theta )=\max _{a'}\mathbb {E} (r|a',x,\theta )\right]P(\theta |{\mathcal {D}})d\theta ,} where I {\displaystyle \mathbb {I} } is the indicator function. In practice, the rule is implemented by sampling. In each round, parameters θ ∗ {\displaystyle \theta ^{\ast }} are sampled from the posterior P ( θ | D ) {\displaystyle P(\theta |{\mathcal {D}})} , and an action a ∗ {\displaystyle a^{\ast }} chosen that maximizes E [ r | θ ∗ , a ∗ , x ] {\displaystyle \mathbb {E} [r|\theta ^{\ast },a^{\ast },x]} , i.e. the expected reward given the sampled parameters, the action, and the current context. Conceptually, this means that the player instantiates their beliefs randomly in each round according to the posterior distribution, and then acts optimally according to them. In most practical applications, it is computationally onerous to maintain and sample from a posterior distribution over models. As such, Thompson sampling is often used in conjunction with approximate sampling techniques. == History == Thompson sampling was originally described by Thompson in 1933. It was subsequently rediscovered numerous times independently in the context of multi-armed bandit problems. A first proof of convergence for the bandit case has been shown in 1997. The first application to Markov decision processes was in 2000. A related approach (see Bayesian control rule) was published in 2010. In 2010 it was also shown that Thompson sampling is instantaneously self-correcting. Asymptotic convergence results for contextual bandits were published in 2011. Thompson Sampling has been widely used in many online learning problems including A/B testing in website design and online advertising, and accelerated learning in decentralized decision making. A Double Thompson Sampling (D-TS) algorithm has been proposed for dueling bandits, a variant of traditional MAB, where feedback comes in the form of pairwise comparison. == Relationship to other approaches == === Probability matching === Probability matching is a decision strategy in which predictions of class membership are proportional to the class base rates. Thus, if in the training set positive examples are observed 60% of the time, and negative examples are observed 40% of the time, the observer using a probability-matching strategy will predict (for unlabeled examples) a class label of "positive" on 60% of instances, and a class label of "negative" on 40% of instances. === Bayesian control rule === A generalization of Thompson sampling to arbitrary dynamical environments and causal structures, known as Bayesian control rule, has been shown to be the optimal solution to the adaptive coding problem with actions and observations. In this formulation, an agent is conceptualized as a mixture over a set of behaviours. As the agent interacts with its environment, it learns the causal properties and adopts the behaviour that minimizes the relative entropy to the behaviour with the best prediction of the environment's behaviour. If these behaviours have been chosen according to the maximum expected utility principle, then the asymptotic behaviour of the Bayesian control rule matches the asymptotic behaviour of the perfectly rational agent. The setup is as follows. Let a 1 , a 2 , … , a T {\displaystyle a_{1},a_{2},\ldots ,a_{T}} be the actions issued by an agent up to time T {\displaystyle T} , and let o 1 , o 2 , … , o T {\displaystyle o_{1},o_{2},\ldots ,o_{T}} be the observations gathered by the agent up to time T {\displaystyle T} . Then, the agent issues the action a T + 1 {\displaystyle a_{T+1}} with probability: P ( a T + 1 | a ^ 1 : T , o 1 : T ) , {\displaystyle P(a_{T+1}|{\hat {a}}_{1:T},o_{1:T}),} where the "hat"-notation a ^ t {\displaystyle {\hat {a}}_{t}} denotes the fact that a t {\displaystyle a_{t}} is a causal intervention (see Causality), and not an ordinary observation. If the agent holds beliefs θ ∈ Θ {\displaystyle \theta \in \Theta } over its behaviors, then the Bayesian control rule becomes P ( a T + 1 | a ^ 1 : T , o 1 : T ) = ∫ Θ P ( a T + 1 | θ , a ^ 1 : T , o 1 : T ) P ( θ | a ^ 1 : T , o 1 : T ) d θ {\displaystyle P(a_{T+1}|{\hat {a}}_{1:T},o_{1:T})=\int _{\Theta }P(a_{T+1}|\theta ,{\hat {a}}_{1:T},o_{1:T})P(\theta |{\hat {a}}_{1:T},o_{1:T})\,d\theta } , where P ( θ | a ^ 1 : T , o 1 : T ) {\displaystyle P(\theta |{\hat {a}}_{1:T},o_{1:T})} is the posterior distribution over the parameter θ {\displaystyle \theta } given actions a 1 : T {\displaystyle a_{1:T}} and observations o 1 : T {\displaystyle o_{1:T}} . In practice, the Bayesian control amounts to sampling, at each time step, a parameter θ ∗ {\displaystyle \theta ^{\ast }} from the posterior distribution P ( θ | a ^ 1 : T , o 1 : T ) {\displaystyle P(\theta |{\hat {a}}_{1:T},o_{1:T})} , where the posterior distribution is computed using Bayes' rule by only considering the (causal) likelihoods of the observations o 1 , o 2 , … , o T {\displaystyle o_{1},o_{2},\ldots ,o_{T}} and ignoring the (causal) likelihoods of the actions a 1 , a 2 , … , a T {\displaystyle a_{1},a_{2},\ldots ,a_{T}} , and then by sampling the action a T + 1 ∗ {\displaystyle a_{T+1}^{\ast }} from the action distribution P ( a T + 1 | θ ∗ , a ^ 1 : T , o 1 : T ) {\displaystyle P(a_{T+1}|\theta ^{\ast },{\hat {a}}_{1:T},o_{1:T})} . === Upper-confidence-bound (UCB) algorithms === Thompson sampling and upper-confidence bound algorithms share a fundamental property that underlies many of their theoretical guarantees. Roughly speaking, both algorithms allocate exploratory effort to actions that might be optimal and are in this sense "optimistic". Leveraging this property, one can translate regret bounds established for UCB algorithms to Bayesian regret bounds for Thompson sampling or unify regret analysis across both these algorithms and many classes of problems.

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  • Pixorial

    Pixorial

    Pixorial was a cloud-based consumer photo sharing, video sharing and video editing platform. The company was formed in 2007 in Centennial, Colorado as a media conversion service. In 2013, Pixorial was chosen as one of two video storage companies to partner with the launch of Google Drive. Pixorial allowed users to edit and share videos on social channels by connecting through their Pixorial account. The company closed on July 18, 2014, and its assets were acquired by LifeLogger Technologies Corp in November 2015. == History == The company was founded in 2007 and launched in 2009 by former Netscape employee Andres Espineira. Changing its focus to video editing software in 2009, Pixorial began developing an app that would be launched for iOS and Android devices in 2011. Later developments in the app in 2012 would also included real time filters, which were later removed. With the launch of Google Drive in 2012, Pixorial was chosen as an integrated video partner. This integration with Google Drive allowed users to access videos stored in Google Drive within the web app of Pixorial. After the Google Drive launch, Pixorial developed a crowdsourced, location-based video sharing app, Krowds. The app was cited in July 2012 by PC Magazine as one of "The 8 Best Apps for Making and Sharing Videos on Your iPhone". In late July, Pixorial replaced its original mobile app with the MyPlayer HD app that optimized HD video viewing for large screen viewing including tablets and smart televisions. Pixorial's services terminated on July 18, 2014. == Products == === Krowds App === Pixorial's app was launched in April 2013 for iOS, and in May for Android, as a tool to aggregate event videos through location based collections. The app was launched to generally positive reviews. === Movie Creator === Launched July 12, 2012 Pixorial's Movie Creator allowed users to edit movies in a simple story-telling platform Movie Creator's features include transitions, text boxes, access to free music tracks, credits, and social media sharing capabilities. The Pixorial platform allowed users to view, share, and edit videos without modifying the original. Movie Creator integrated pictures and video to create user movies. == Awards == 2012 Apex Award from the Colorado Technology Association, for Best Technology Project of the Year 2010 Computerworld Laureate for Media, Arts and Entertainment

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  • Blackboard system

    Blackboard system

    A blackboard system is an artificial intelligence approach based on the blackboard architectural model, where a common knowledge base, the "blackboard", is iteratively updated by a diverse group of specialist knowledge sources, starting with a problem specification and ending with a solution. Each knowledge source updates the blackboard with a partial solution when its internal constraints match the blackboard state. In this way, the specialists work together to solve the problem. The blackboard model was originally designed as a way to handle complex, ill-defined problems, where the solution is the sum of its parts. == Metaphor == The following scenario provides a simple metaphor that gives some insight into how a blackboard functions: A group of specialists are seated in a room with a large blackboard. They work as a team to brainstorm a solution to a problem, using the blackboard as the workplace for cooperatively developing the solution. The session begins when the problem specifications are written onto the blackboard. The specialists all watch the blackboard, looking for an opportunity to apply their expertise to the developing solution. When someone writes something on the blackboard that allows another specialist to apply their expertise, the second specialist records their contribution on the blackboard, hopefully enabling other specialists to then apply their expertise. This process of adding contributions to the blackboard continues until the problem has been solved. == Components == A blackboard-system application consists of three major components The software specialist modules, which are called knowledge sources (KSs). Like the human experts at a blackboard, each knowledge source provides specific expertise needed by the application. The blackboard, a shared repository of problems, partial solutions, suggestions, and contributed information. The blackboard can be thought of as a dynamic "library" of contributions to the current problem that have been recently "published" by other knowledge sources. The control shell, which controls the flow of problem-solving activity in the system. Just as the eager human specialists need a moderator to prevent them from trampling each other in a mad dash to grab the chalk, KSs need a mechanism to organize their use in the most effective and coherent fashion. In a blackboard system, this is provided by the control shell. === Learnable Task Modeling Language === A blackboard system is the central space in a multi-agent system. It's used for describing the world as a communication platform for agents. To realize a blackboard in a computer program, a machine readable notation is needed in which facts can be stored. One attempt in doing so is a SQL database, another option is the Learnable Task Modeling Language (LTML). The syntax of the LTML planning language is similar to PDDL, but adds extra features like control structures and OWL-S models. LTML was developed in 2007 as part of a much larger project called POIROT (Plan Order Induction by Reasoning from One Trial), which is a Learning from demonstrations framework for process mining. In POIROT, Plan traces and hypotheses are stored in the LTML syntax for creating semantic web services. Here is a small example: A human user is executing a workflow in a computer game. The user presses some buttons and interacts with the game engine. While the user interacts with the game, a plan trace is created. That means the user's actions are stored in a logfile. The logfile gets transformed into a machine readable notation which is enriched by semantic attributes. The result is a textfile in the LTML syntax which is put on the blackboard. Agents (software programs in the blackboard system) are able to parse the LTML syntax. == Implementations == We start by discussing two well known early blackboard systems, BB1 and GBB, below and then discuss more recent implementations and applications. The BB1 blackboard architecture was originally inspired by studies of how humans plan to perform multiple tasks in a trip, used task-planning as a simplified example of tactical planning for the Office of Naval Research. Hayes-Roth & Hayes-Roth found that human planning was more closely modeled as an opportunistic process, in contrast to the primarily top-down planners used at the time: While not incompatible with successive-refinement models, our view of planning is somewhat different. We share the assumption that planning processes operate in a two-dimensional planning space defined on time and abstraction dimensions. However, we assume that people's planning activity is largely opportunistic. That is, at each point in the process, the planner's current decisions and observations suggest various opportunities for plan development. The planner's subsequent decisions follow up on selected opportunities. Sometimes, these decision-sequences follow an orderly path and produce a neat top-down expansion as described above. However, some decisions and observations might also suggest less orderly opportunities for plan development. A key innovation of BB1 was that it applied this opportunistic planning model to its own control, using the same blackboard model of incremental, opportunistic, problem-solving that was applied to solve domain problems. Meta-level reasoning with control knowledge sources could then monitor whether planning and problem-solving were proceeding as expected or stalled. If stalled, BB1 could switch from one strategy to another as conditions – such as the goals being considered or the time remaining – changed. BB1 was applied in multiple domains: construction site planning, inferring 3-D protein structures from X-ray crystallography, intelligent tutoring systems, and real-time patient monitoring. BB1 also allowed domain-general language frameworks to be designed for wide classes of problems. For example, the ACCORD language framework defined a particular approach to solving configuration problems. The problem-solving approach was to incrementally assemble a solution by adding objects and constraints, one at a time. Actions in the ACCORD language framework appear as short English-like commands or sentences for specifying preferred actions, events to trigger KSes, preconditions to run a KS action, and obviation conditions to discard a KS action that is no longer relevant. GBB focused on efficiency, in contrast to BB1, which focused more on sophisticated reasoning and opportunistic planning. GBB improves efficiency by allowing blackboards to be multi-dimensional, where dimensions can be either ordered or not, and then by increasing the efficiency of pattern matching. GBB1, one of GBB's control shells implements BB1's style of control while adding efficiency improvements. Other well-known of early academic blackboard systems are the Hearsay II speech recognition system and Douglas Hofstadter's Copycat and Numbo projects. Some more recent examples of deployed real-world applications include: The PLAN component of the Mission Control System for RADARSAT-1, an Earth observation satellite developed by Canada to monitor environmental changes and Earth's natural resources. The GTXImage CAD software by GTX Corporation was developed in the early 1990s using a set of rulebases and neural networks as specialists operating on a blackboard system. Adobe Acrobat Capture (now discontinued), as it used a blackboard system to decompose and recognize image pages to understand the objects, text, and fonts on the page. This function is currently built into the retail version of Adobe Acrobat as "OCR Text Recognition". Details of a similar OCR blackboard for Farsi text are in the public domain. Blackboard systems are used routinely in many military C4ISTAR systems for detecting and tracking objects. Another example of current use is in Game AI, where they are considered a standard AI tool to help with adding AI to video games. == Recent developments == Blackboard-like systems have been constructed within modern Bayesian machine learning settings, using agents to add and remove Bayesian network nodes. In these 'Bayesian Blackboard' systems, the heuristics can acquire more rigorous probabilistic meanings as proposal and acceptances in Metropolis Hastings sampling though the space of possible structures. Conversely, using these mappings, existing Metropolis-Hastings samplers over structural spaces may now thus be viewed as forms of blackboard systems even when not named as such by the authors. Such samplers are commonly found in musical transcription algorithms for example. Blackboard systems have also been used to build large-scale intelligent systems for the annotation of media content, automating parts of traditional social science research. In this domain, the problem of integrating various AI algorithms into a single intelligent system arises spontaneously, with blackboards providing a way for a collection of distributed, modular natural language processing algorithm

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  • Jake Elwes

    Jake Elwes

    Jake Elwes () is a British media artist, hacker and researcher. Their practice is the exploration of artificial intelligence (AI), queer theory and technical biases. They are known for using AI to create art in mediums such as video, performance and installation. Elwes considers themselves to be neuroqueer, and their work on queering technology addresses issues caused by the normative biases of artificial intelligence. == Education and early life == Elwes was born in London to British contemporary artist and painter Luke Elwes and Anneke, daughter of Hans Dumoulin. Elwes is the great grandchild of Army officer James Hennessy and portrait painter Simon Elwes RA, son of Victorian opera singer Gervase Elwes. Elwes studied at the Slade School of Fine Art from 2013 to 2017, where they began using computer code as a medium. In 2016 they attended the School of Machines, Making & Make-Believe in Berlin with artist and educator Gene Kogan. Elwes was introduced to drag performance by their collaborator Dr Joe Parslow who holds a PhD in drag performance. Drag performance has since become instrumental to Elwes' work. == Career == Elwes' work with artificial intelligence is cited as a hopeful strategy to make AI more playful and diverse. Elwes' work has been exhibited in numerous international art museums and galleries and was featured in a BBC documentary on the history of video art, they were a 2021 finalist for the Lumen Prize, and received the Honorary Mention of the 2022 Prix Ars Electronica in the Interactive Art + category. They also curated and presented the opening provocation "The New Real - Artistic and Queer Visions of AI Futures" to the UK government with two drag artists at the AI UK conference 2024. Elwes is part of the Radical Faeries countercultural movement. They have exhibited in museums and galleries across Europe and Asia including: Victoria and Albert Museum (London, UK) - The Zizi Show (2023-2024) for the first digital commission in their photography center's digital gallery Pinakothek der Moderne (Munich, Germany) - Glitch. Die Kunst Der Störung (2023-2024) ZKM (Karlsruhe, Germany) - Biomedia (2021-2022) National Museum of Modern and Contemporary Art (Cheongju, South Korea) - What an Artificial World (2024) Somerset House (London, UK) - The Horror Show! (2022-2023) Gazelli Art House (London, UK) - Jake Elwes: Data • Glitch • Utopia (2023) (survey exhibition) Jut Art Museum (Taipei, Taiwan) - Future Lives, Future You (2023-2024) Max Ernst Museum (Brühl, Germany) - Surreal Futures (2023-2024) Zabludowicz Collection (London, UK) - Among the Machines (2022) Ars Electronica (Linz, Austria) - Prix Ars Electronica, CyberArts Exhibition (2022) Institute of Contemporary Arts (ICA) (London, UK) - Do Androids Dream on Silver Screens? (2023) Arebyte gallery (London, UK) - Real-Time Constraints (2020) Ming Contemporary Art Museum (McaM) (Shanghai, China) - Mind the Deep (2019) HMKV (Hartware MedienKunstVerein) (Dortmund, Germany) - House of Mirrors: Artificial Intelligence as Phantasm (2022) Today Art Museum (Beijing, China) - Future of Today: DEJA VU (2019) Science Gallery (Dublin, Ireland) - BIAS (2021-2022) Yuz Museum (Shanghai, China) - Lying Sophia and Mocking Alexa (2021) Fotomuseum Winterthur The Onassis Foundation (Athens, Greece) - You and AI (2021) Royal College of Art (London, UK) - Event Two (2019) (50th anniversary of Computer Arts Society & Event One) Museum für Naturkunde (Berlin, Germany) - Forschungsfall Nachtigall (2019) Frankfurter Kunstverein (Frankfurt, Germany) - I am here to learn (2018) Nature Morte (Delhi, India) - Gradient Descent (2018) BALTIC Centre for Contemporary Art (Newcastle, UK) - Bloomberg New Contemporaries (2017) == Artworks == === The Zizi Project - a deepfake drag cabaret === The Zizi Project is a series of works that explore the interaction of drag and A.I. Currently, The Zizi Project is made up of multiple artworks. ==== Zizi - Queering the Dataset (2019) ==== Knowing that facial recognition technology statically struggle to recognize black women or transgender people, Elwes set out to "Queer the Dataset" through an open-sourced generative adversarial network (GAN, a type of machine learning model and an early Generative artificial intelligence). Elwes added a dataset of 1,000 photos of drag kings and queens into the GAN's 70,000 faces collected in a standardised facial recognition dataset called Flickr-Faces-HQ Dataset (FFHQ). They then created new simulacra faces, known as deep fakes. "We queer that data so it shifts all of the weights in this neural network from a space of normativity into a space of queerness and otherness. Suddenly all of the faces start to break down and you see mascara dissolve into lipstick and blue eye shadow turn into a pink wig" said Elwes in a 2023 interview for Artnet. ==== Zizi & Me (2020–2023) ==== Zizi & Me is an ongoing multimedia collaboration between drag queen Me The Drag Queen and a deepfake A.I. clone of Me The Drag Queen. Using neural networks trained on filmed footage, the project creates a virtual body that can mimic reference movements. The first act, which features a digital lip-sync duet to Anything You Can Do (I Can Do Better), satirises the idea of A.I. being mistaken for a human, using drag performance and cabaret to critique societal narratives about A.I. and its role in shaping identity. The project is part of The Zizi Project by Jake Elwes, which explores the intersection of drag performance and A.I. ==== The Zizi Show - A Deepfake Drag Cabaret (2020) ==== The Zizi Show is a deep fake drag act based on artificial intelligence (AI). It has been presented live and as interactive online artwork. It is an exploration of queer culture and the algorithms philosophy and ethics of AI. The Zizi Show was exhibited as the inaugural exhibition in the digital gallery at the V&A’s Photography Center from 2023 to 2024. ==== Zizi in Motion: A Deepfake Drag Utopia (Movement by Wet Mess) (2023) ==== "Zizi in Motion" is a multichannel silent video installation featuring AI-generated deepfake performances, which are dynamically re-animated through the movements of London drag artist Wet Mess. The movements of Wet Mess cause the AI-generated visuals to glitch and distort, showcasing the interaction between drag performance and artificial intelligence. The work explore the potential for queer communities to ethically and creatively reclaim and repurpose deepfake technology, using it to celebrate queer bodies and identities. === Art in the Cage of Digital Reproduction (2024) === In an act of protest on 26 November 2024, Elwes facilitated indirect access to an early access token for OpenAI’s Sora text-to-video model through a Hugging Face frontend under the account "PR Puppets". The accompanying statement called to 'denormalize the exploitation of artists by major AI companies for training data, R&D, and publicity'. The incident attracted international press coverage calling into question the role of artists in shaping the future of generative AI versus merely serving as data and credibility providers for tech giants. Elwes also coordinated a collection of mini essays with responses and reflections from the signees and guest writers titled "Art in the Cage of Digital Reproduction". === Installations exploring interpretation and feedback loops between neural networks === Elwes has created works based on the interpretations and misinterpretations between different neural networks and training datasets including: A.I. Interprets A.I. Interpreting ‘Against Interpretation’ (Sontag 1966) from 2023, Closed Loop from 2017, and Auto-Encoded Buddha from 2016. ==== A.I. Interprets A.I. Interpreting ‘Against Interpretation’ (Sontag 1966) (2023) ==== A.I. Interprets A.I. Interpreting ‘Against Interpretation (Sontag 1966) is a three-channel video artwork where an AI interprets Susan Sontag’s essay into images, and then and another AI reinterprets those images back into language. The piece highlights how AI-generated art can misinterpret and introduce bias. ==== Closed Loop (2017) ==== Closed Loop is a two-channel video where two neural networks engage in a continuous feedback loop, one generating images based on the text output and the other creating text based on the image output. The work explores how AI models misinterpret and evolve in a surreal, self-perpetuating conversation, without human input. ==== Auto-Encoded Buddha (2016) ==== Auto-Encoded Buddha is a mixed-media piece where an AI attempts to generate an image of a Buddha statue, trained on 5,000 Buddha images. The AI struggles to accurately represent the Buddha, highlighting the limitations of early generative neural networks. The work is a tribute to Nam June Paik’s TV Buddha (1974). === CUSP (2019) === In their video work CUSP (2019) Elwes places marsh birds generated using artificial intelligence into a tidal landscape. These digitally generated and constantly shifting birds are recorded in dialogue with native

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  • Eden: It's an Endless World!

    Eden: It's an Endless World!

    Eden: It's an Endless World!, also known simply as Eden (stylized in all caps), is a Japanese science fiction manga series written and illustrated by Hiroki Endo. It was serialized in Kodansha's seinen manga magazine Monthly Afternoon from September 1997 to June 2008, with its chapters collected in 18 tankōbon volumes. == Premise == The story is set in the near future, following the "closure virus" pandemic has killed 15 percent of the world's population, crippled or disfigured many more, with catastrophic effect on global politics. Its themes and many character names are taken from Gnostic mythology. == Plot == The series begins with a long introduction, with the characters Ennoia and Hannah living a peaceful life on a remote and isolated island called Eden, with researcher Lane Morris, who is their guardian and a victim of the pandemic. The events that led to this situation are revealed in flashbacks, leading up to the return of Ennoia's father, along with the forces of the Propater Federation. Following this, the story moves forwards twenty years, and focuses on Ennoia's son, Elijah, the main character, and his own conflict with the powerful and monopolistic Propater federation to save his sister, Mana Ballard, kidnapped by Propater when he was very young. She is being held to threaten Ennoia Ballard, father of the two characters, who has become a powerful drug lord in South America, feared and despised by many, including, to an extent, his own family. During a terrorist attack, Elijah, aged 15, is separated from his mother and his sister is kidnapped, along with his mother Hannah and now has to handle things on his own. Eden is about his coming-of-age as a man and trying to survive both bodily and morally in world that is too complex for mere "black and white". He encounters many other characters, both allies and enemies, all sharing the same struggle to survive in a post-apocalyptic dystopian world. Many stories are included of the people Elijah meets, telling their past or following life, sometimes volumes later, furthering understanding of the characters and giving increased depth to the world of the book as a whole. Later in the series, the story once again moves forwards in time, jumping four more years ahead. The Closure Virus, the cause of the original pandemic, mutates, this time assimilating non-organic matter as well as organic, known as "colloid" (or "Disclosure Virus"). The story rejoins Elijah, now 19 years old, as well as many other old characters, and some new, as the world begins to deal with this new threat that is swallowing many cities in the world, leaving lakes and craters, and many people. It is later discovered that the several colloids in the world, are linked with a net of underground auto-built "cables," and that the colloid itself, stores all the memories of the people it swallows. == Characters == Elijah Ballard (エリヤ・バラード, Eriya Barādo) Elijah is introduced while on the run from Propater. He becomes involved in his father's criminal activities, and undergoes a coming of age into adulthood. Ennoia Ballard (エンノイア・バラード, Ennoia Barādo) Elijah's father. Hannah Mayall (ハナ・メイオール, Hana Meiōru) Elijah's mother. Mana Ballard (マナ・バラード, Mana Barādo) Elijah's sister, who remains in Propater hands whilst her mother is rescued. Elijah's fight to free her is a focus of the later parts of the story. Nazarbaiev Khan (ナザルバイエフ・カーン, Nazarubaiefu Kān) Colonel Khan is an old soldier from Azerbaijan. He leads the Nomad group (including Kenji and Sophia) fleeing Propater at the start of the series. Khan became Kenji's mentor after killing his brother, and the two share a slightly strained, but at the same time, trusting, relationship. Sophia Theódores (ソフィア・テオドレス, Sofia Teodoresu) A powerful Greek computer hacker, and full-body cyborg. Maya (マーヤ, Māya) A nearly godlike AI, which seems to roughly correspond to the savior of Gnostic mythology. Kenji Asai (ケンジ・アサイ) The brother of a low-level yakuza boss. Helena Montoya (ヘレナ・モントーヤ, Herena Montōya) A prostitute now working in a brothel. Has a complex relationship with Elijah and acts as a surrogate big sister. == Media == === Manga === Eden: It's an Endless World! was written and illustrated by Hiroki Endo. The series ran in Kodansha's Monthly Afternoon magazine from September 25, 1997, to June 25, 2008. Kodansha collected its chapters into 18 tankōbon volumes, released from April 21, 1998, to July 23, 2008. In July 2005, Dark Horse Comics announced in San Diego Comic-Con that it has licensed Eden for North American distribution, with publication to begin in November of that year. As of March 2014, 14 volumes were released in total. ==== Volumes ==== == Reception == Eden was named Wizard magazine's best manga of 2007. In his review of another work by Hiroki Endo titled Hiroki Endo's Tanpenshu, David F. Smith of Newtype USA has called Eden one of the best manga American money can buy.

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  • Computational intelligence

    Computational intelligence

    In computer science, computational intelligence (CI) refers to concepts, paradigms, algorithms and implementations of systems that are designed to show "intelligent" behavior in complex and changing environments. These systems are aimed at mastering complex tasks in a wide variety of technical or commercial areas and offer solutions that recognize and interpret patterns, control processes, support decision-making or autonomously manoeuvre vehicles or robots in unknown environments, among other things. These concepts and paradigms are characterized by the ability to learn or adapt to new situations, to generalize, to abstract, to discover and associate. Nature-analog or nature-inspired methods play a key role in this. CI approaches primarily address those complex real-world problems for which traditional or mathematical modeling is not appropriate for various reasons: the processes cannot be described exactly with complete knowledge, the processes are too complex for mathematical reasoning, they contain some uncertainties during the process, such as unforeseen changes in the environment or in the process itself, or the processes are simply stochastic in nature. Thus, CI techniques are properly aimed at processes that are ill-defined, complex, nonlinear, time-varying and/or stochastic. A recent definition of the IEEE Computational Intelligence Societey describes CI as the theory, design, application and development of biologically and linguistically motivated computational paradigms. Traditionally the three main pillars of CI have been Neural Networks, Fuzzy Systems and Evolutionary Computation. ... CI is an evolving field and at present in addition to the three main constituents, it encompasses computing paradigms like ambient intelligence, artificial life, cultural learning, artificial endocrine networks, social reasoning, and artificial hormone networks. ... Over the last few years there has been an explosion of research on Deep Learning, in particular deep convolutional neural networks. Nowadays, deep learning has become the core method for artificial intelligence. In fact, some of the most successful AI systems are based on CI. However, as CI is an emerging and developing field there is no final definition of CI, especially in terms of the list of concepts and paradigms that belong to it. The general requirements for the development of an “intelligent system” are ultimately always the same, namely the simulation of intelligent thinking and action in a specific area of application. To do this, the knowledge about this area must be represented in a model so that it can be processed. The quality of the resulting system depends largely on how well the model was chosen in the development process. Sometimes data-driven methods are suitable for finding a good model and sometimes logic-based knowledge representations deliver better results. Hybrid models are usually used in real applications. According to actual textbooks, the following methods and paradigms, which largely complement each other, can be regarded as parts of CI: Fuzzy systems Neural networks and, in particular, convolutional neural networks Evolutionary computation and, in particular, multi-objective evolutionary optimization Swarm intelligence Bayesian networks Artificial immune systems Learning theory Probabilistic methods == Relationship between hard and soft computing and artificial and computational intelligence == Artificial intelligence (AI) is used in the media, but also by some of the scientists involved, as a kind of umbrella term for the various techniques associated with it or with CI. Craenen and Eiben state that attempts to define or at least describe CI can usually be assigned to one or more of the following groups: "Relative definition” comparing CI to AI Conceptual treatment of key notions and their roles in CI Listing of the (established) areas that belong to it The relationship between CI and AI has been a frequently discussed topic during the development of CI. While the above list implies that they are synonyms, the vast majority of AI/CI researchers working on the subject consider them to be distinct fields, where either CI is an alternative to AI AI includes CI CI includes AI The view of the first of the above three points goes back to Zadeh, the founder of the fuzzy set theory, who differentiated machine intelligence into hard and soft computing techniques, which are used in artificial intelligence on the one hand and computational intelligence on the other. In hard computing (HC) and traditional AI (e.g. expert systems), inaccuracy and uncertainty are undesirable characteristics of a system, while soft computing (SC) and thus CI focus on dealing with these characteristics. The adjacent figure illustrates this view and lists the most important CI techniques. Another frequently mentioned distinguishing feature is the representation of information in symbolic form in AI and in sub-symbolic form in CI techniques. Hard computing is a conventional computing method based on the principles of certainty and accuracy and it is deterministic. It requires a precisely stated analytical model of the task to be processed and a prewritten program, i.e. a fixed set of instructions. The models used are based on Boolean logic (also called crisp logic), where e.g. an element can be either a member of a set or not and there is nothing in between. When applied to real-world tasks, systems based on HC result in specific control actions defined by a mathematical model or algorithm. If an unforeseen situation occurs that is not included in the model or algorithm used, the action will most likely fail. Soft computing, on the other hand, is based on the fact that the human mind is capable of storing information and processing it in a goal-oriented way, even if it is imprecise and lacks certainty. SC is based on the model of the human brain with probabilistic thinking, fuzzy logic and multi-valued logic. Soft computing can process a wealth of data and perform a large number of computations, which may not be exact, in parallel. For hard problems for which no satisfying exact solutions based on HC are available, SC methods can be applied successfully. SC methods are usually stochastic in nature i.e., they are a randomly defined processes that can be analyzed statistically but not with precision. Up to now, the results of some CI methods, such as deep learning, cannot be verified and it is also not clear what they are based on. This problem represents an important scientific issue for the future. AI and CI are catchy terms, but they are also so similar that they can be confused. The meaning of both terms has developed and changed over a long period of time, with AI being used first. Bezdek describes this impressively and concludes that such buzzwords are frequently used and hyped by the scientific community, science management and (science) journalism. Not least because AI and biological intelligence are emotionally charged terms and it is still difficult to find a generally accepted definition for the basic term intelligence. == History == In 1950, Alan Turing, one of the founding fathers of computer science, developed a test for computer intelligence known as the Turing test. In this test, a person can ask questions via a keyboard and a monitor without knowing whether his counterpart is a human or a computer. A computer is considered intelligent if the interrogator cannot distinguish the computer from a human. This illustrates the discussion about intelligent computers at the beginning of the computer age. The term Computational Intelligence was first used as the title of the journal of the same name in 1985 and later by the IEEE Neural Networks Council (NNC), which was founded 1989 by a group of researchers interested in the development of biological and artificial neural networks. On November 21, 2001, the NNC became the IEEE Neural Networks Society, to become the IEEE Computational Intelligence Society two years later by including new areas of interest such as fuzzy systems and evolutionary computation. The NNC helped organize the first IEEE World Congress on Computational Intelligence in Orlando, Florida in 1994. On this conference the first clear definition of Computational Intelligence was introduced by Bezdek: A system is computationally intelligent when it: deals with only numerical (low-level) data, has pattern-recognition components, does not use knowledge in the AI sense; and additionally when it (begins to) exhibit (1) computational adaptivity; (2) computational fault tolerance; (3) speed approaching human-like turnaround and (4) error rates that approximate human performance. Today, with machine learning and deep learning in particular utilizing a breadth of supervised, unsupervised, and reinforcement learning approaches, the CI landscape has been greatly enhanced, with novell intelligent approaches. == The main algorithmic approaches of CI and their applicati

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  • AI Seoul Summit 2024

    AI Seoul Summit 2024

    The AI Seoul Summit 2024 was an event in May 2024 co-hosted by the South Korean and British governments. The Seoul Declaration was adopted to address artificial intelligence technology and related challenges and opportunities. == Background == The AI Seoul Summit is the second such meeting following the AI Safety Summit held in the United Kingdom in November 2023. In the Bletchley Declaration, the participating countries agreed to prioritize identifying AI safety risks of shared concern, a shared concern, but at the Seoul Summit, the leaders also recognized the importance of AI. == Notable attendees == The summit was attended by the leaders of Group of Seven countries, including the United States, Canada, France, and Germany, South Korea, Singapore and Australia, representatives of the United Nations, the Organisation for Economic Co-operation and Development, and the European Union. Also in attendance were representatives of global companies such as Tesla CEO Elon Musk, Samsung Electronics Chairman Lee Jae-yong, ChatGPT maker OpenAI, Google, Microsoft, Meta, and South Korea's top portal operator Naver. == Topics == === South Korean AI safety center === "South Korea will push forward with the establishment of an AI safety research center in Korea and join a network to boost the global safety of AI." Minister of Science, Lee Jong-ho said that South Korea was planning to open an AI Safety Institute in 2024. He also expressed his intention to strengthen cooperation for the development of international standards. === Seoul Declaration for Safe, Innovative and Inclusive AI === The Seoul Declaration was adopted at the summit by leaders representing the EU, the US, the UK, Australia, Canada, Germany, France, Italy, Japan, South Korea, and Singapore. The declaration is a commitment to foster international cooperation to help develop AI governance frameworks that are interoperable between countries, partly by integrating the Hiroshima Process International Code of Conduct for Organizations Developing Advanced AI Systems. It advocates for the development of human-centric AI in collaboration with the private sector, academia, and civil society. === Seoul Ministerial Statement for advancing AI safety === At the ministerial meeting of the summit, the Seoul Ministerial Statement, a joint statement calling for the improvement of the safety, innovation, and inclusivity of AI technologies, was adopted by ministers from Australia, Canada, Chile, France, Germany, India, Indonesia, Israel, Italy, Japan, Kenya, Mexico, the Netherlands, Nigeria, New Zealand, the Philippines, South Korea, Rwanda, Saudi Arabia, Singapore, Spain, Switzerland, Turkey, Ukraine, the United Arab Emirates, the UK, and the US, as well as an EU representative. It aims to develop low-power chips as the AI industry rapidly expands and massive consumption is expected. == Global AI Summit series ==

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  • Stanhope Demonstrator

    Stanhope Demonstrator

    The Stanhope Demonstrator was the first machine to solve problems in logic. It was designed by Charles Stanhope, 3rd Earl Stanhope to demonstrate consequences in logic symbolically. The first model was constructed in 1775. It consisted of two slides coloured red and gray mounted in a square brass frame. This could be used to demonstrate the solution to a syllogistic type of problem in which objects might have two different properties and the question was how many would have both properties. Scales marked zero to ten were used to set the numbers or proportions of objects with the two properties. This form of inference anticipated the numerically definite syllogism which Augustus De Morgan laid out in his book, Formal Logic, in 1847. == Construction == The device was a brass plate about four inches square which was mounted on a piece of mahogany which was three-quarters of an inch thick. There was an opening with a depression in the wood about one and a half inches square and half an inch deep. This opening was called the holon, meaning "whole", and represented the full set of objects under consideration. A slide of red translucent glass could be inserted from the right across the holon. A slide of gray wood could be slid under the red slide. When the device was used for the "Rule for the Logic of Certainty", the gray slider was inserted from the left. When it was used for the "Rule for the Logic of Probability", the gray slider was inserted from above. The red and the gray sliders represented the two affirmative propositions which were being combined. Stanhope called these ho and los. At least four of the devices with this square style were built. In 1879, Robert Harley wrote that he had one which he had been given by Stanhope's great-grandson, Arthur, who had kept one. The other two were owned by Henry Prevost Babbage – the son of Charles Babbage, who continued his work on the Analytical Engine. One of the devices was donated to the Science Museum, London by the last Earl in 1953. Other styles, such as circular models, were constructed, but these were less convenient.

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