AI Chatbot Questionnaire

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

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  Key frame

  In animation and filmmaking, a key frame (or keyframe) is a drawing or shot that defines the starting and ending points of a smooth transition. These are called frames because their position in time is measured in frames on a strip of film or on a digital video editing timeline. A sequence of key frames defines which movement the viewer will see, whereas the position of the key frames on the film, video, or animation defines the timing of the movement. Because only two or three key frames over the span of a second do not create the illusion of movement, the remaining frames are filled with "inbetweens". == Use of key frames as a means to change parameters == In software packages that support animation, especially 3D graphics, there are many parameters that can be changed for any one object. One example of such an object is a light. In 3D graphics, lights function similarly to real-world lights. They cause illumination, cast shadows, and create specular highlights. Lights have many parameters, including light intensity, beam size, light color, and the texture cast by the light. Supposing that an animator wants the beam size to change smoothly from one value to another within a predefined period of time, that could be achieved by using key frames. At the start of the animation, a beam size value is set. Another value is set for the end of the animation. Thus, the software program automatically interpolates the two values, creating a smooth transition. == Video editing == In non-linear digital video editing, as well as in video compositing software, a key frame is a frame used to indicate the beginning or end of a change made to a parameter. For example, a key frame could be set to indicate the point at which audio will have faded up or down to a certain level. == Video compression == In video compression, a key frame, also known as an intra-frame, is a frame in which a complete image is stored in the data stream. In video compression, only changes that occur from one frame to the next are stored in the data stream, in order to greatly reduce the amount of information that must be stored. This technique capitalizes on the fact that most video sources (such as a typical movie) have only small changes in the image from one frame to the next. Whenever a drastic change to the image occurs, such as when switching from one camera shot to another or at a scene change, a key frame must be created. The entire image for the frame must be output when the visual difference between the two frames is so great that representing the new image incrementally from the previous frame would require more data than recreating the whole image. Because video compression only stores incremental changes between frames (except for key frames), it is not possible to fast-forward or rewind to any arbitrary spot in the video stream. That is because the data for a given frame only represents how that frame was different from the preceding one. For that reason, it is beneficial to include key frames at arbitrary intervals while encoding video. For example, a key frame may be output once for each 10 seconds of video, even though the video image does not change enough visually to warrant the automatic creation of the key frame. That would allow seeking within the video stream at a minimum of 10-second intervals. The downside is that the resulting video stream will be larger in disk size because many key frames are added when they are not necessary for the frame's visual representation. This drawback, however, does not produce significant compression loss when the bitrate is already set at a high value for better quality (as in the DVD MPEG-2 format).

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  Representational harm

  Systems cause representational harm when they misrepresent a group of people in a negative manner. Representational harms include perpetuating harmful stereotypes about or minimizing the existence of a social group, such as a racial, ethnic, gender, or religious group. Machine learning algorithms often commit representational harm when they learn patterns from data that have algorithmic bias, and this has been shown to be the case with large language models. While preventing representational harm in models is essential to prevent harmful biases, researchers often lack precise definitions of representational harm and conflate it with allocative harm, an unequal distribution of resources among social groups, which is more widely studied and easier to measure. However, recognition of representational harms is growing and preventing them has become an active research area. Researchers have recently developed methods to effectively quantify representational harm in algorithms, making progress on preventing this harm in the future. == Types == Three prominent types of representational harm include stereotyping, denigration, and misrecognition. These subcategories present many dangers to individuals and groups. Stereotypes are oversimplified and usually undesirable representations of a specific group of people, usually by race and gender. This often leads to the denial of educational, employment, housing, and other opportunities. For example, the model minority stereotype of Asian Americans as highly intelligent and good at mathematics can be damaging professionally and academically. Representational harm happens when the representation of details teams improves damaging stereotypes, developing social exclusion and prejudice. This experience is particularly noticeable in the depiction of marginalised groups, containing people of color, women, LGBTQ+ people, and people with handicaps. Media depictions of these groups generally stop working to catch their array and intricacy. Instead, they are typically reduced to one-dimensional caricatures, which ultimately continue social prejudices. These organised depictions contribute to the help of hazardous stereotypes and the marginalisation of these locations. Denigration is the action of unfairly criticizing individuals. This frequently happens when the demeaning of social groups occurs. For example, when searching for "Black-sounding" names versus "white-sounding" ones, some retrieval systems bolster the false perception of criminality by displaying ads for bail-bonding businesses. A system may shift the representation of a group to be of lower social status, often resulting in a disregard from society. Research shows that hazardous depictions in the media can have substantial emotional and social impacts on both individuals and areas. Lawrence Bobo examined the issue of Ethnic stereotype in film, tv, and marketing. African Americans are commonly received duties specified by features such as "violent tendencies," "laziness," or being "merely for contentment features." While these representations might appear varied externally, they stay to boost underlying frameworks of white prominence and racial inequality. As a circumstances, Black individuals are frequently represented as law offenders or in secondary roles, which adds to the support of Ethnic stereotype and Institutional racism. Misrecognition, or incorrect recognition, can display in many forms, including, but not limited to, erasing and alienating social groups, and denying people the right to self-identify. Erasing and alienating social groups involves the unequal visibility of certain social groups; specifically, systematic ineligibility in algorithmic systems perpetuates inequality by contributing to the underrepresentation of social groups. Not allowing people to self-identify is closely related as people's identities can be 'erased' or 'alienated' in these algorithms. Misrecognition causes more than surface-level harm to individuals: psychological harm, social isolation, and emotional insecurity can emerge from this subcategory of representational harm. == Quantification == As the dangers of representational harm have become better understood, some researchers have developed methods to measure representational harm in algorithms. Modeling stereotyping is one way to identify representational harm. Representational stereotyping can be quantified by comparing the predicted outcomes for one social group with the ground-truth outcomes for that group observed in real data. For example, if individuals from group A achieve an outcome with a probability of 60%, stereotyping would be observed if it predicted individuals to achieve that outcome with a probability greater than 60%. The group modeled stereotyping in the context of classification, regression, and clustering problems, and developed a set of rules to quantitatively determine if the model predictions exhibit stereotyping in each of these cases. Other attempts to measure representational harms have focused on applications of algorithms in specific domains such as image captioning, the act of an algorithm generating a short description of an image. In a study on image captioning, researchers measured five types of representational harm. To quantify stereotyping, they measured the number of incorrect words included in the model-generated image caption when compared to a gold-standard caption. They manually reviewed each of the incorrectly included words, determining whether the incorrect word reflected a stereotype associated with the image or whether it was an unrelated error, which allowed them to have a proxy measure of the amount of stereotyping occurring in this caption generation. These researchers also attempted to measure demeaning representational harm. To measure this, they analyzed the frequency with which humans in the image were mentioned in the generated caption. It was hypothesized that if the individuals were not mentioned in the caption, then this was a form of dehumanization. == Examples == One of the most notorious examples of representational harm was committed by Google in 2015 when an algorithm in Google Photos classified Black people as gorillas. Developers at Google said that the problem was caused because there were not enough faces of Black people in the training dataset for the algorithm to learn the difference between Black people and gorillas. Google issued an apology and fixed the issue by blocking its algorithms from classifying anything as a primate. In 2023, Google's photos algorithm was still blocked from identifying gorillas in photos. Another prevalent example of representational harm is the possibility of stereotypes being encoded in word embeddings, which are trained using a wide range of text. These word embeddings are the representation of a word as an array of numbers in vector space, which allows an individual to calculate the relationships and similarities between words. However, recent studies have shown that these word embeddings may commonly encode harmful stereotypes, such as the common example that the phrase "computer programmer" is oftentimes more closely related to "man" than it is to "women" in vector space. This could be interpreted as a misrepresentation of computer programming as a profession that is better performed by men, which would be an example of representational harm. == Addressing representational harm == Initiatives to minimise representational harm include advertising for even more inclusive and accurate portrayals of marginalised teams in the media. Scholars and protestors recommend that the method to reducing representational injury depends on raising the selection of voices both behind and before the digital video camera. When marginalized groups are provided the chance to represent themselves, they can check traditional stereotypes and present their experiences additional authentically. Over the last few years, efforts to increase representation of people of color, women, and LGBTQ+ people in conventional media have made some progression. Films such as Selma, routed by Ava DuVernay, and tv series like Pose, developed by Ryan Murphy, have actually been extensively applauded for their nuanced and respectful representations of marginalised communities. These tasks existing complex individualities and stories that move past streamlined stereotypes. Self-representation is one more crucial method to addressing representational harm. By equipping marginalised locations to create their really own tales, media designers can effectively reduce the perpetuation of hazardous stereotypes. This procedure consists of both the manufacturing of media product by participants of these communities and proactively difficult typical media structures that have actually historically omitted them.

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  Lobsang Monlam

  Geshe Lobsang Monlam (Tibetan: དགེ་བཤེས་བློ་བཟང་སྨོན་ལམ, Wylie: dge bshes blo bzang smon lam), born in 1976 in Ngawa eastern Tibet, is a Tibetan Buddhist scholar and programmer who uses digital technologies to preserve the Tibetan language and culture. He is best known for developing Tibetan typefaces and for the multi-volume Great Monlam Tibetan Dictionary. In 2025, he received the Snow Lion Award for Human Rights from the International Campaign for Tibet. He is also working on developing a "Dalai Lama AI," a specialized language model. == Biography == Lobsang Monlam was born in 1976 in Ngawa, eastern Tibet, anciently Tibetan Amdo, where he became a monk at the age of 12.. At the age of 17, in 1993, Lobsang Monlam fled Tibet by crossing the Himalayas to reach southern India and discovered computer science in a monastery. In 1993, he was ordained monk in the Sera Mey College in Bylakuppe, Karnataka, India, where he obtained a Geshe title in 2013.. By the early 2000s, Lobsang Monlam had already learned to paint thangkas and to compose plans and drawings. He used this knowledge to design a new assembly hall for Sera Mey, which the monks needed. Thanks to his work, Lobsang Monlam received donations from patrons of the monastery, which he was able to use to buy his first computer. He bought his first laptop in 2002 and largely taught himself how to use the hardware and software with the help of manuals. As a Buddhist scholar, he combines meditation practice with his digital work. In 2012, he founded and directs the Monlam Tibetan Information Technology Research Center in Dharamsala, which specializes in Tibetan language and software projects. Since then, he is its director, researching Tibetan language-related software. In 2019, advised by the 14th Dalai Lama, he founded Monlam IT and Research (OPC) Private Limited. Since the 2000s, Monlam has been developing Tibetan typefaces; the first Monlam Tibetan font was created in 2005. Under his direction, the Monlam Great Tibetan Dictionary was created, comprising 223 printed volumes and over 300,000 entries; approximately 150 people worked on this project for over nine years. On May 27, 2022, the Dalai Lama inaugurated the Monlam Tibetan Dictionary, produced by the Monlam Tibetan Information Technology Research Center, at Namgyal Monastery in McLeod Ganj. According to Penpa Tsering, this is the world's largest dictionary, created with guidance from the Dalai Lama, based on proposals from Lobsang Monlam and his team under the direction of Samdhong Rinpoche, and other lamas from all schools of Tibetan Buddhism and Yungdrung Bön. On December 5, 2024, Lobsang Monlam testified at a hearing of the US Congressional-Executive Commission on China in Washington, chaired by Christopher Smith, on the difficulties of preserving the Tibetan language and culture in Tibet and the Tibetan diaspora, and on the interest of the Monlam Tibetan Informatics Research Center in developing technologies for the preservation of the Tibetan language. On December 12, 2024, the work was presented to the Library of Congress in Washington, D.C., and launched at an event. The free Monlam Great Tibetan Dictionary app is available in several languages; the German version was created in collaboration with the Tibet Institute Rikon and has been downloaded millions of times. In total, Monlam has created over 37 apps related to the Tibetan language and translation; In 2023, its center launched the Monlam artificial intelligence platform, equipped with modules for machine translation, optical character recognition, speech transcription and speech synthesis.. For their efforts, he and Sophie Richardson received the Snow Lion Award in 2025, which was presented by Richard Gere and came with a prize of €3,000. In 2019, he started a PhD at Bangalore University on Library Science. He obtained his doctorate on November 30, 2023. Currently, he spearheads Monlam AI. Lobsang Monlam is developing "Dalai Lama AI" to digitally preserve the teachings of the 14th Dalai Lama, now 90 years old, for future generations. Lobsang Monlam states, "If we succeed in preserving the Dalai Lama, we also preserve the movement."

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  SERVQUAL

  SERVQUAL is a research tool that measures customer perception of service quality by comparing what customers expect from a service to their assessment of the service actually delivered. The instrument was developed in the United States in the mid-1980s by researchers A. Parasuraman, Valarie Zeithaml, and Leonard L. Berry, and is designed for use in after-service evaluation processes. It assesses service quality across five dimensions: reliability, assurance, tangibles, empathy, and responsiveness. SERVQUAL has been applied in sectors including healthcare, banking, education, and libraries. == Overview == The SERVQUAL questionnaire consists of matched pairs of items, 22 expectation items and 22 perception items, organized into five dimensions that correspond to the consumer's mental framework for evaluating service quality. Each item is part of a pair: one question asks what excellent organizations in a given industry should offer (expectation), and the other asks how the specific organization being evaluated performs (perception). == The model of service quality == The model of service quality, referred to as the gaps model, was developed by Parasuraman, Zeithaml, and Berry during a systematic research program conducted in the 1980s. The model identifies five gaps that may cause customers to experience poor service quality. In this framework, gap 5 is the service quality gap, which represents the difference between customer expectations and their perceptions of the service. This is the only gap that can be directly measured, and the SERVQUAL instrument was designed specifically to capture it. Gaps 1 through 4 have diagnostic value and point to probable causes of service failures. == Development of the instrument == Development of the model of service quality began in 1983 and, after iterative refinements, led to the publication of the SERVQUAL instrument in 1988. The research team conducted in-depth interviews and focus groups in four service sectors: retail banking, credit card services, securities brokerage, and product repair and maintenance. The questionnaire was tested across multiple samples to verify its reliability, validity, and factor structure. == Adaptations and variants == SERVQUAL has been adapted for specific industries and contexts. Well‑known derivatives include: LibQUAL+ – a library service quality survey developed by the Association of Research Libraries. EDUQUAL – an instrument tailored for the evaluation of service quality in educational institutions. HEALTHQUAL – adapted for measuring patient perceptions of healthcare service quality. ARTSQUAL – used to evaluate visitor perceptions of quality in museums and performing arts venues. == Criticisms == Researchers have raised several concerns about SERVQUAL. Critics argue that the instrument's definition of expectations is ambiguous and that it does not adequately account for the dynamic nature of customer expectations over time. Other scholars question whether the five‑dimension structure is universally applicable across all service contexts, and whether a generic instrument can capture the unique attributes of specific industries without modification.

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  Masking (art)

  In art, craft, and engineering, masking is the use of materials to protect areas from change, or to focus change on other areas. This can describe either the techniques and materials used to control the development of a work of art by protecting a desired area from change; or a phenomenon that (either intentionally or unintentionally) causes a sensation to be concealed from conscious attention. The term is derived from the word mask, in the sense that it hides the face from view. == In painting == Masking materials supplement a painter's dexterity and choice of applicator to control where paint is laid. Examples include the use of a stencil or masking tape to protect areas which are not to be painted. === Solid masks === Most solid masks require an adhesive to hold the mask in place while work is performed. Some, such as masking tape and frisket, come with adhesive pre-applied. Solid masks are readily available in bulk, and are used in large painting jobs. Paper products Kraft paper Butcher paper Masking tape Plastic film Frisket Polyester tape Stencils Silk screen === Liquid masks === Liquid masks are preferred where precision is needed; they prevent paint from seeping underneath, resulting in clean edges. Care must be taken to remove them without damaging the work underneath. Latex or other polymers Molten wax Gesso, typically a substrate for painting, but can also be applied to achieve masking effects == In photography == Masks used for photography are used to enhance the quality of an image. Representations of a scene—whether film, video display, or printed—do not have the dynamic contrast range available to the human eye looking directly at the same scene. Adjusting the contrast in an image helps restore some of the perceived qualities of the original scene. These adjustments are typically performed on "blown-out" highlights, and "crushed" or "muddy" shadow areas, where clipping has occurred; or on desaturated colors. Photographic masks are peculiar in that they are produced from the image they will alter, an exercise in recursion. Masks used to produce other effects are similar to those used in painting. === Controlling exposure === ==== Film ==== The basic methods of controlling exposure are dodging and burning, which respectively lighten (reduce exposure) and darken (increase exposure) areas of an image. The tools a film photographer uses range from shaped pieces of black material (such as studio foil, foam, and paper) to the photographer's hands. To create a photographic mask, a sheet of negative film is contact-exposed to the original film negative or slide positive in a particular way. Both films are then combined to produce a processed positive. The process is similar when applied using digital techniques: the inverse of the working image is reduced to an image mask; filters or other adjustments are then applied, using the mask to selectively block portions of the image. ==== Digital ==== Image editors offer at the very least a "Select All" command and a rectangular "marquee" selection tool. (The word "marquee" describes the "crawling ants" border used to highlight the active region.) Once a selection is created, further changes to the image will be confined to that area. To continue editing the rest of the image, the selection is either "deselected" or the entire image is selected. Advanced suites offer more ways to select portions of an image, as well as ways to combine these selections through. Selection masks can be switched between an editable greyscale image and a mask. They allow the user to create a mask using the suite's painting tools. === Contrast masking === When the contrast range of an image needs to be adjusted, a contrast mask is a simple solution. The processed image resembles what would be achieved when exposing through a neutral density filter, but the effects are focused highly upon the extreme regions of the image. The blocking areas of the mask coincide with the highlights of the image, and the permissive areas with the shadows, resulting in more detail appearing in each. ==== Film ==== The mask is often made from high-quality black-and-white film, such as Kodak Technical Pan, which allows for a degree of softening on the mask. Its processing time is reduced so as to not completely oppose the original negative. Both negatives are combined and registered, and collectively exposed with additional time to compensate for the presence of the mask. ==== Digital ==== Contrast masking is made simpler with digital editing. A grayscale version of the image is produced, either by desaturation or by calculating selected ratios of the image's color channels, inverted, and blurred. The mask and original image are blended together to produce the final processed image. Some image editors allow for refinement of the effect by changing the strength of the blend. Contrast masking can be considered to be the opposite of gamma correction, which adjusts the midtones of an image. Effects similar to contrast masking can be achieved by adjusting the response curves of an image. === Unsharp masking === A derivative of contrast masking is unsharp masking, an unusual term for a process intended to increase the apparent sharpness (acutance) of an image. Unsharp masking uses a blurred form of the image to increase contrast along regions of moderate contrast difference. Around edges, the blur region causes highlights to overexpose and shadows to underexpose. Taken to an extreme, the edges become overly visible and detract from the quality of the image—this is referred to as halation. Unsharp masking does not increase the actual sharpness, as it cannot recover details lost to blurring. ==== Film ==== Unsharp masking allows the photographer to sharpen areas that have become blurred in the original negative, due to long shutter speed/exposure time, or from using a wide aperture/"fast" lens. When creating the unsharp mask, extra space or diffusing material is added between the image and the mask to produce the necessary blur. ==== Digital ==== Unsharp masking has become automated in digital editing, with higher-end suites offering the process as a "tool" or "filter" in their standard sharpening kits—the actual creation of a mask is bypassed in favor of calculations that represent the mask's effect. The process depends on three factors: the radius of the blur, the strength of the effect, and the threshold degree of contrast above which the effect will be applied. (Adjusting the threshold allows the editor to apply the effect selectively upon moderately defined edges and ignore image noise.) Unsharp masking is computationally more complex than other sharpening algorithms, but results in a higher-quality remedy. Deconvolution allows for truer sharpening, but is much more complex than unsharp masking.

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  Kinect

  Kinect is a discontinued line of motion sensing input devices produced by Microsoft and first released in 2010. The devices generally contain RGB cameras, and infrared projectors and detectors that map depth through either structured light or time of flight calculations, which can in turn be used to perform real-time gesture recognition and body skeletal detection, among other capabilities. They also contain microphones that can be used for speech recognition and voice control. Kinect was originally developed as a motion controller peripheral for Xbox video game consoles, distinguished from competitors (such as Nintendo's Wii Remote and Sony's PlayStation Move) by not requiring physical controllers. The first-generation Kinect was based on technology from Israeli company PrimeSense, and unveiled at E3 2009 as a peripheral for Xbox 360 codenamed "Project Natal". It was first released on November 4, 2010, and would go on to sell eight million units in its first 60 days of availability. The majority of the games developed for Kinect were casual, family-oriented titles, which helped to attract new audiences to Xbox 360, but did not result in wide adoption by the console's existing, overall userbase. As part of the 2013 unveiling of Xbox 360's successor, Xbox One, Microsoft unveiled a second-generation version of Kinect with improved tracking capabilities. Microsoft also announced that Kinect would be a required component of the console, and that it would not function unless the peripheral is connected. The requirement proved controversial among users and critics due to privacy concerns, prompting Microsoft to backtrack on the decision. However, Microsoft still bundled the new Kinect with Xbox One consoles upon their launch in November 2013. A market for Kinect-based games still did not emerge after the Xbox One's launch; Microsoft would later offer Xbox One hardware bundles without Kinect included, and later revisions of the console removed the dedicated ports used to connect it (requiring a powered USB adapter instead). Microsoft ended production of Kinect for Xbox One in October 2017. Kinect has also been used as part of non-game applications in academic and commercial environments, as it was cheaper and more robust than other depth-sensing technologies at the time. While Microsoft initially objected to such applications, it later released software development kits (SDKs) for the development of Microsoft Windows applications that use Kinect. In 2020, Microsoft released Azure Kinect as a continuation of the technology integrated with the Microsoft Azure cloud computing platform. Part of the Kinect technology was also used within Microsoft's HoloLens project. Microsoft discontinued the Azure Kinect developer kits in October 2023. == History == === Development === The origins of the Kinect started around 2005, at a point where technology vendors were starting to develop depth-sensing cameras. Microsoft had been interested in a 3D camera for the Xbox line earlier but because the technology had not been refined, had placed it in the "Boneyard", a collection of possible technology they could not immediately work on. In 2005, Israeli company PrimeSense was founded by mathematicians and engineers to develop the "next big thing" for video games, incorporating cameras that were capable of mapping a human body in front of them and sensing hand motions. They showed off their system at the 2006 Game Developers Conference, where Microsoft's Alex Kipman, the general manager of hardware incubation, saw the potential in PrimeSense's technology for the Xbox system. Microsoft began discussions with PrimeSense about what would need to be done to make their product more consumer-friendly: not only improvements in the capabilities of depth-sensing cameras, but a reduction in size and cost, and a means to manufacture the units at scale was required. PrimeSense spent the next few years working at these improvements. Nintendo released the Wii in November 2006. The Wii's central feature was the Wii Remote, a handheld device that was detected by the Wii through a motion sensor bar mounted onto a television screen to enable motion controlled games. Microsoft felt pressure from the Wii, and began looking into depth-sensing in more detail with PrimeSense's hardware, but could not get to the level of motion tracking they desired. While they could determine hand gestures, and sense the general shape of a body, they could not do skeletal tracking. A separate path within Microsoft looked to create an equivalent of the Wii Remote, considering that this type of unit may become standardized similar to how two-thumbstick controllers became a standard feature. However, it was still ultimately Microsoft's goal to remove any device between the player and the Xbox. Kudo Tsunoda and Darren Bennett joined Microsoft in 2008, and began working with Kipman on a new approach to depth-sensing aided by machine learning to improve skeletal tracking. They internally demonstrated this and established where they believed the technology could be in a few years, which led to the strong interest to fund further development of the technology; this has also occurred at a time that Microsoft executives wanted to abandon the Wii-like motion tracking approach, and favored the depth-sensing solution to present a product that went beyond the Wii's capabilities. The project was greenlit by late 2008 with work started in 2009. The project was codenamed "Project Natal" after the Brazilian city Natal, Kipman's birthplace. Additionally, Kipman recognized the Latin origins of the word "natal" to mean "to be born", reflecting the new types of audiences they hoped to draw with the technology. Much of the initial work was related to ethnographic research to see how video game players' home environments were laid out, lit, and how those with Wiis used the system to plan how Kinect units would be used. The Microsoft team discovered from this research that the up-and-down angle of the depth-sensing camera would either need to be adjusted manually, or would require an expensive motor to move automatically. Upper management at Microsoft opted to include the motor despite the increased cost to avoid breaking game immersion. Kinect project work also involved packaging the system for mass production and optimizing its performance. Hardware development took around 22 months. During hardware development, Microsoft engaged with software developers to use Kinect. Microsoft wanted to make games that would be playable by families since Kinect could sense multiple bodies in front of it. One of the first internal titles developed for the device was the pack-in game Kinect Adventures developed by Good Science Studio that was part of Microsoft Studios. One of the game modes of Kinect Adventures was "Reflex Ridge", based on the Japanese Brain Wall game where players attempt to contort their bodies in a short time to match cutouts of a wall moving at them. This type of game was a key example of the type of interactivity they wanted with Kinect, and its development helped feed into the hardware improvements. Another development was Project Milo, a prototype game developed by Lionhead Studios led by Peter Molyneux where the player could interact with a virtual avatar through motion controls and voice recognition. Lionhead had developed the project based on original capabilities of the Kinect, but according to Molyneux, Microsoft had found that a consumer-grade version of the Kinect would cost thousands of dollars, so they scaled back the device and refocused the role of games for the Kinect to be more casual games as seen on the Wii. As a result, Project Milo no longer fit Microsoft's portfolio and was cancelled. Nearing the planned release, there was a problem of widespread testing of Kinect in various room types and different bodies accounting for age, gender, and race among other factors, while keeping the details of the unit confidential. Microsoft engaged in a company-wide program offering employees to take home Kinect units to test them. Microsoft also brought other non-gaming divisions, including its Microsoft Research, Microsoft Windows, and Bing teams to help complete the system. Microsoft established its own large-scale manufacturing facility to bulk product Kinect units and test them. === Introduction === Kinect was first announced to the public as "Project Natal" on June 1, 2009, during Microsoft's press conference at E3 2009; film director Steven Spielberg joined Microsoft's Don Mattrick to introduce the technology and its potential. Three demos were presented during the conference—Microsoft's Ricochet and Paint Party, and Lionhead Studios' Milo & Kate created by Peter Molyneux—while a Project Natal-enabled version of Criterion Games' Burnout Paradise was shown during the E3 exhibition. By E3 2009, the skeletal mapping technology was capable of simultaneously tracking four people, with a feature extraction of 4

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  TD-Gammon

  TD-Gammon is a computer backgammon program developed in the 1990s by Gerald Tesauro at IBM's Thomas J. Watson Research Center. Its name comes from the fact that it is an artificial neural net trained by a form of temporal-difference learning, specifically TD-Lambda. It explored strategies that humans had not pursued and led to advances in the theory of correct backgammon play. In 1993, TD-Gammon (version 2.1) was trained with 1.5 million games of self-play, and achieved a level of play just slightly below that of the top human backgammon players of the time. In 1998, during a 100-game series, it was defeated by the world champion by a mere margin of 8 points. Its unconventional assessment of some opening strategies had been accepted and adopted by expert players. TD-gammon is commonly cited as an early success of reinforcement learning and neural networks, and was cited in, for example, papers for deep Q-learning and AlphaGo. == Algorithm for play and learning == During play, TD-Gammon examines on each turn all possible legal moves and all their possible responses (lookahead search), feeds each resulting board position into its evaluation function, and chooses the move that leads to the board position that got the highest score. In this respect, TD-Gammon is no different than almost any other computer board-game program. TD-Gammon's innovation was in how it learned its evaluation function. TD-Gammon's learning algorithm consists of updating the weights in its neural net after each turn to reduce the difference between its evaluation of previous turns' board positions and its evaluation of the present turn's board position—hence "temporal-difference learning". The score of any board position is a set of four numbers reflecting the program's estimate of the likelihood of each possible game result: White wins normally, Black wins normally, White wins a gammon, Black wins a gammon. For the final board position of the game, the algorithm compares with the actual result of the game rather than its own evaluation of the board position. The core of TD-gammon is a neural network with 3 layers. The input layer has two types of neurons. One type codes for the board position. They are non-negative integers ranging from 0 to 15, indicating the number of White or Black checkers at each board location. There are 99 input neurons for each, totaling 198 neurons. Another type codes for hand-crafted features previously used in Neurogammon. These features encoded standard concepts used by human experts, such as "advanced anchor," "blockade strength," "home board strength" and the probability of a "blot" (single checker) being hit. The hidden layer contains hidden neurons. Later versions had more of these. The output layer contains 4 neurons, representing the network's estimate of the probability ("equity") that the current board would lead to. The 4 neurons code for: White normal win, White gammon win, Black normal win, Black gammon win. Backgammon win is so rare that Tesauro opted to not represent it. After each turn, the learning algorithm updates each weight in the neural net according to the following rule: w t + 1 − w t = α ( Y t + 1 − Y t ) ∑ k = 1 t λ t − k ∇ w Y k {\displaystyle w_{t+1}-w_{t}=\alpha (Y_{t+1}-Y_{t})\sum _{k=1}^{t}\lambda ^{t-k}\nabla _{w}Y_{k}} where: It was found that picking small λ {\displaystyle \lambda } offered performance roughly equally good, and large λ {\displaystyle \lambda } degraded performance. Because of this, after 1992, TD-Gammon was trained with λ = 0 {\displaystyle \lambda =0} , degenerating into standard TD-learning. This saved compute by a factor of 2. == Development history == Version 1.0 used simple 1-ply search: every next move is scored by the neural net, and the highest-scoring move is selected. Versions 2.0 and 2.1 used 2-ply search: Make a 1-ply analysis to remove unlikely moves ("forward pruning"). Make a 2-play minimax analysis for only the likely moves. Pick the best move, probability-weighted by each of the opponent's 21 possible dice rolls (weighting non-doubles twice as much as doubles). Versions 3.0 and 3.1 used 3-ply search, using 21 2 = 441 {\displaystyle 21^{2}=441} possible dice rolls instead of 21. The last version, 3.1, was trained specifically for an exhibition match against Malcolm Davis at the 1998 AAAI Hall of Champions. It lost at -8 points, mainly due to one blunder, where TD-Gammon opted to double and got gammoned at -32 points. == Experiments and stages of training == Unlike previous neural-net backgammon programs such as Neurogammon (also written by Tesauro), where an expert trained the program by supplying the "correct" evaluation of each position, TD-Gammon was at first programmed "knowledge-free". In early experimentation, using only a raw board encoding with no human-designed features, TD-Gammon reached a level of play comparable to Neurogammon: that of an intermediate-level human backgammon player. Even though TD-Gammon discovered insightful features on its own, Tesauro wondered if its play could be improved by using hand-designed features like Neurogammon's. Indeed, the self-training TD-Gammon with expert-designed features soon surpassed all previous computer backgammon programs. It stopped improving after about 1,500,000 games (self-play) using a three-layered neural network, with 198 input units encoding expert-designed features, 80 hidden units, and one output unit representing predicted probability of winning. == Advances in backgammon theory == TD-Gammon's exclusive training through self-play (rather than imitation learning) enabled it to explore strategies that humans previously had not considered or had ruled out erroneously. Its success with unorthodox strategies had a significant impact on the backgammon community. Late 1991, Bill Robertie, Paul Magriel, and Malcolm Davis, were invited to play against TD-Gammon (version 1.0). A total of 51 games were played, with TD-Gammon losing at -0.25 ppg. Robertie found TD-Gammon to be at the level of a competent advanced player, and better than any previous backgammon program. Robertie subsequently wrote about the use of TD-Gammon for backgammon study. For example, on the opening play, the conventional wisdom was that given a roll of 2-1, 4-1, or 5-1, White should move a single checker from point 6 to point 5. Known as "slotting", this technique trades the risk of a hit for the opportunity to develop an aggressive position. TD-Gammon found that the more conservative play of splitting 24-23 was superior. Tournament players began experimenting with TD-Gammon's move, and found success. Within a few years, slotting had disappeared from tournament play, replaced by splitting, though in 2006 it made a reappearance for 2-1. Backgammon expert Kit Woolsey found that TD-Gammon's positional judgement, especially its weighing of risk against safety, was superior to his own or any human's. TD-Gammon's excellent positional play was undercut by occasional poor endgame play. The endgame requires a more analytical approach, sometimes with extensive lookahead. TD-Gammon's limitation to two-ply lookahead put a ceiling on what it could achieve in this part of the game. TD-Gammon's strengths and weaknesses were the opposite of symbolic artificial intelligence programs and most computer software in general: it was good at matters that require an intuitive "feel" but bad at systematic analysis. It is also poor at doubling strategies. This is likely due to the fact that the neural network is trained without the doubling cube, with the doubling added by feeding the neural network's cubeless equity estimates into theoretically-based heuristic formulae. This was particularly the case in the 1998 exhibition match, where it played 100 games against Malcolm Davis. A single doubling blunder lost the match. TD-gammon was never commercialized or released to the public in some other form, but it inspired commercial backgammon programs based on neural networks, such as JellyFish (1994) and Snowie (1998).

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  Parallel terraced scan

  The parallel terraced scan is a multi-agent based search technique that is basic to cognitive architectures, such as Copycat, Letter-string, the Examiner, Tabletop, and others. It was developed by John Rehling and Douglas Hofstadter at the Center for Research on Concepts and Cognition at Indiana University, Bloomington. The parallel terraced scan builds on the concepts of the workspace, coderack, conceptual memory, and temperature. According to Hofstadter the parallel and random nature of the processing captures aspects of human cognition.

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  Deluxe Paint

  Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai

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  Preferential entailment

  Preferential entailment is a non-monotonic logic based on selecting only models that are considered the most plausible. The plausibility of models is expressed by an ordering among models called a preference relation, hence the name preference entailment. Formally, given a propositional formula F {\displaystyle F} and an ordering over propositional models ≤ {\displaystyle \leq } , preferential entailment selects only the models of F {\displaystyle F} that are minimal according to ≤ {\displaystyle \leq } . This selection leads to a non-monotonic inference relation: F ⊨ pref G {\displaystyle F\models _{\text{pref}}G} holds if and only if all minimal models of F {\displaystyle F} according to ≤ {\displaystyle \leq } are also models of G {\displaystyle G} . Circumscription can be seen as the particular case of preferential entailment when the ordering is based on containment of the sets of variables assigned to true (in the propositional case) or containment of the extensions of predicates (in the first-order logic case).

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  OntoWiki

  OntoWiki was a free and open-source semantic wiki application, meant to serve as an ontology editor and a knowledge acquisition system. It is a web-based application written in PHP and using either a MySQL database or a Virtuoso triple store. OntoWiki is form-based rather than syntax-based, and thus tries to hide as much of the complexity of knowledge representation formalisms from users as possible. OntoWiki is mainly being developed by the Agile Knowledge Engineering and Semantic Web (AKSW) research group at the University of Leipzig, a group also known for the DBpedia project among others, in collaboration with volunteers around the world. In 2009 the AKSW research group got a budget of €425,000 from the Federal Ministry of Education and Research of Germany for the development of the OntoWiki. In 2010 OntoWiki became part of the technology stack supporting the LOD2 (linked open data) project. Leipzig University is one of the consortium members of the project, which is funded by a €6.5m EU grant. The development ended in 2016 due to the lack of capacity migrating from PHP 5 to 7 including the required Zend Framework from version 1 to 2.

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  Computational theory of mind

  In philosophy of mind, the computational theory of mind (CTM), also known as computationalism, is a family of views that hold that the human mind is an information processing system and that cognition and consciousness together are a form of computation. It is closely related to functionalism, a broader theory that defines mental states by what they do rather than what they are made of. == History == Warren McCulloch and Walter Pitts (1943) were the first to suggest that neural activity is computational. They argued that neural computations explain cognition. A version of the theory was put forward by Peter Putnam and Robert W. Fuller in 1964. The theory was proposed in its modern form by Hilary Putnam in 1960 and 1961, aided by his then PhD student, philosopher and cognitive scientist Jerry Fodor, who continued the research as a post-doc in the 1960s, 1970s, and 1980s. It was later criticized by Putnam himself, John Searle, and others. == Classical computational theory of mind == The CTM holds that the human mind is a computational system that is realized (i.e., physically implemented) by neural activity in the brain. The theory can be elaborated in many ways and varies largely based on how the term computation is understood. In classical computational theory of mind (CCTM), computation is modeled in terms of Turing machines which manipulate symbols according to a rule, in combination with the internal state of the machine. A Turing machine is an abstract machine with unlimited time and storage. CCTM does not pretend that the mind looks like a Turing machine, but instead uses Turing machines as a formalism. Alan Turing argued that any symbolic algorithm executed by a human brain can in theory be replicated on a Turing machine. The critical aspect of such a computational model is that it allows to abstract away from particular physical details of the machine that is implementing the computation. For example, the appropriate computation could be implemented either by silicon chips or biological neural networks, so long as there is a series of outputs based on manipulations of inputs and internal states, performed according to a rule. Computational theories of mind are often said to require mental representation because 'input' into a computation comes in the form of symbols or representations of other objects. A computer cannot compute an actual object but must interpret and represent the object in some form and then compute the representation. Unlike CTM, the representational theory of mind shifts the focus to the symbols being manipulated. This approach better accounts for systematicity and productivity. In Fodor's view, the mind is a computational system that processes the language of thought. == Variants == Connectionist computationalism models the mind as a neural network. Steven Pinker and Alan Prince distinguish two types of connectionists: eliminative and implementationist. Eliminative connectionists generally reject classical CTMs and the idea of a structured, symbolic mind, whereas implementationists view neural networks and Turing machines as two potentially complementary levels of analysis. It is indeed possible in theory to implement a neural network in a Turing machine, or a Turing machine in a neural network. Building from the tradition of McCulloch and Pitts, the computational theory of cognition (CTC) states that neural computations explain cognition. The computational theory of mind asserts that not only cognition, but also phenomenal consciousness or qualia, are computational. That is to say, CTM entails CTC. While phenomenal consciousness could fulfill some other functional role, computational theory of cognition leaves open the possibility that some aspects of the mind could be non-computational. CTC, therefore, provides an important explanatory framework for understanding neural networks, while avoiding counter-arguments that center around phenomenal consciousness. == "Computer metaphor" == Computational theory of mind is not the same as the computer metaphor, comparing the mind to a modern-day digital computer. While the computer metaphor draws an analogy between the mind as software and the brain as hardware, CTM is the claim that the mind is literally a computational system. "Computational system" is not intended to mean a modern-day electronic computer. == Pancomputationalism == CTM raises a question that remains a subject of debate: what does it take for a physical system (such as a mind, or an artificial computer) to perform computations? A very straightforward account is based on a simple mapping between abstract mathematical computations and physical systems: a system performs computation C if and only if there is a mapping between a sequence of states individuated by C and a sequence of states individuated by a physical description of the system. Putnam (1988) and Searle (1992) argue that this simple mapping account (SMA) trivializes the empirical import of computational descriptions. As Putnam put it, "everything is a Probabilistic Automaton under some Description". Even rocks, walls, and buckets of water—contrary to appearances—are computing systems. Gualtiero Piccinini identifies different versions of pancomputationalism. Searle wrote:the wall behind my back is right now implementing the WordStar program, because there is some pattern of molecule movements that is isomorphic with the formal structure of WordStar. But if the wall is implementing WordStar, if it is a big enough wall it is implementing any program, including any program implemented in the brain.In response to the trivialization criticism, and to restrict SMA, philosophers of mind have offered different accounts of computational systems. These typically include causal account, semantic account, syntactic account, and mechanistic account. Instead of a semantic restriction, the syntactic account imposes a syntactic restriction. The mechanistic account was first introduced by Gualtiero Piccinini in 2007. == Criticism == A range of arguments have been proposed against physicalist conceptions used in computational theories of mind. An early, though indirect, criticism of the computational theory of mind comes from philosopher John Searle. In his thought experiment known as the Chinese room, Searle attempts to refute the claims that artificially intelligent agents can be said to have intentionality and understanding and that these systems, because they can be said to be minds themselves, are sufficient for the study of the human mind. Searle asks us to imagine that there is a man in a room with no way of communicating with anyone or anything outside of the room except for a piece of paper with symbols written on it that is passed under the door. With the paper, the man is to use a series of provided rule books to return paper containing different symbols. Unknown to the man in the room, these symbols are of a Chinese language, and this process generates a conversation that a Chinese speaker outside of the room can actually understand. Searle contends that the man in the room does not understand the Chinese conversation. This was originally written as a repudiation of the idea that computers work like minds. Objections like Searle's might be called insufficiency objections. They claim that computational theories of mind fail because computation is insufficient to account for some capacity of the mind. Arguments from qualia, such as Frank Jackson's knowledge argument, can be understood as objections to computational theories of mind in this way—though they take aim at physicalist conceptions of the mind in general, and not computational theories specifically. Objections have also been put forth that are directly tailored for computational theories of mind. Jerry Fodor himself argues that the mind is still a very long way from having been explained by the computational theory of mind. The main reason for this shortcoming is that most cognition is abductive and global, hence sensitive to all possibly relevant background beliefs to (dis)confirm a belief. This creates, among other problems, the frame problem for the computational theory, because the relevance of a belief is not one of its local, syntactic properties but context-dependent. Putnam himself (see in particular Representation and Reality and the first part of Renewing Philosophy) became a prominent critic of computationalism for a variety of reasons, including ones related to Searle's Chinese room arguments, questions of world-word reference relations, and thoughts about the mind-body problem. Regarding functionalism in particular, Putnam has claimed along lines similar to, but more general than Searle's arguments, that the question of whether the human mind can implement computational states is not relevant to the question of the nature of mind, because "every ordinary open system realizes every abstract finite automaton." Computationalists have responded by aiming to develop criteri

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  Arabic Ontology

  Arabic Ontology is a website offering linguistic ontology services for the Arabic language which can be used like the online site WordNet. Users can use Arabic Ontology to classify or clarify the concepts and meanings of Arabic terms. == Ontology Structure == The ontology structure (i.e., data model) is similar to WordNet's structure. Each concept in the database is given a unique concept identifier (URI), informally described by a gloss, and lexicalized by one or more synonymous lemma terms. Each term-concept pair is called a sense, and is given a SenseID. A set of senses is called synset. Concepts and senses are described by further attributes such as era and area — to specify example usage and ontological analysis. Semantic relations are defined between concepts. Some important entities are included in the ontology, such as individual countries and bodies of water. These individuals are given separate IndividualIDs and linked with their concepts through the InstanceOf relation. == Mappings to other resources == Concepts in the Arabic Ontology are mapped to synsets in WordNet, as well as to BFO and DOLCE. Terms used in the Arabic Ontology are mapped to lemmas in the LDC's SAMA database. == Applications == Arabic Ontology can be used in many application domains, such as: Information retrieval, to enrich queries (e.g., in search engines) and improve the quality of the results, i.e. meaningful search rather than string-matching search; Machine translation and word-sense disambiguation, by finding the exact mapping of concepts across languages, especially that the Arabic ontology is also mapped to the WordNet; Data Integration and interoperability in which the Arabic ontology can be used as a semantic reference to link databases and information systems; Semantic Web and Web 3.0, by using the Arabic ontology as a semantic reference to disambiguate the meanings used in websites; among many other applications. == URLs Design == The URLs in the Arabic Ontology are designed according to the W3C's Best Practices for Publishing Linked Data, as described in the following URL schemes. This allows one to also explore the whole database like exploring a graph: Ontology Concept: Each concept in the Arabic Ontology has a ConceptID and can be accessed using: https://{domain}/concept/{ConceptID | Term}. In case of a term, the set of concepts that this term lexicalizes are all retrieved. In case of a ConceptID, the concept and its direct subtypes are retrieved, e.g. https://ontology.birzeit.edu/concept/293198 Semantic relations: Relationships between concepts can be accessed using these schemes: (i) the URL: https:// {domain}/concept/{RelationName}/{ConceptID} allows retrieval of relationships among ontology concepts. (ii) the URL: https://{domain}/lexicalconcept/{RelationName}/{lexicalConceptID} allows retrieval of relations between lexical concepts. For example, https://ontology.birzeit.edu/concept/instances/293121 retrieves the instances of the concept 293121. The relations that are currently used in our database are: {subtypes, type, instances, parts, related, similar, equivalent}.

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  Minion (solver)

  Minion is a solver for satisfaction problems. Unlike constraint programming toolkits, which expect users to write programs in a traditional programming language like C++, Java or Prolog, Minion takes a text file which specifies the problem, and solves using only this. This makes using Minion much simpler, at the cost of much less customization. Minion has been shown to be faster than major commercial constraint solvers including CPLEX (formerly IBM ILOG). == Overview == Minion was introduced in 2006 by researchers at the University of St Andrews as a “fast, scalable” solver for large and hard CSP instances. The project provides a compact input language and a low-overhead C++ implementation aimed at throughput and memory efficiency. == Design and features == Minion implements a range of variable and constraint types commonly used in CSP modelling, plus search heuristics and optimisation support. The solver architecture prioritises cache-friendly data structures and specialised propagators. Notably, the developers adapted watched literal techniques from SAT solving to speed up constraint propagation for, among others, Boolean sums, the element global constraint, and table constraints. The modelling approach relies on a plain-text format (parsed by Minion) rather than embedding models into a host programming language. This reduces overhead and supports rapid “model-and-run” experimentation for large benchmark sets. == Performance == In the original evaluation on standard benchmarks, the authors reported that Minion often ran between one and two orders of magnitude faster than state-of-the-art toolkits of the time (including ILOG Solver and Gecode) on large, hard instances, with smaller gains—or slowdowns—on easier problems. Subsequent research has used Minion as a baseline solver in empirical studies and test generation tasks, reflecting its adoption within parts of the constraint programming community. == Applications == Minion has been applied in academic work on combinatorial search, scheduling and test generation, and is available to other environments via wrappers (for example, from the R language).

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  ChipTest

  ChipTest was a 1985 chess playing computer built by Feng-hsiung Hsu, Thomas Anantharaman and Murray Campbell at Carnegie Mellon University. It is the predecessor of Deep Thought which in turn evolved into Deep Blue. == History == ChipTest was based on a special VLSI-technology move generator chip developed by Hsu. ChipTest was controlled by a Sun-3/160 workstation and capable of searching approximately 50,000 moves per second. Hsu and Anantharaman entered ChipTest in the 1986 North American Computer Chess Championship, and it was only partially tested when the tournament began. It lost its first two rounds, but finished with an even score. In August 1987, ChipTest was overhauled and renamed ChipTest-M, M standing for microcode. The new version had eliminated ChipTest's bugs and was ten times faster, searching 500,000 moves per second and running on a Sun-4 workstation. ChipTest-M won the North American Computer Chess Championship in 1987 with a 4–0 sweep. ChipTest was invited to play in the 1987 American Open, but the team did not enter due to an objection by the HiTech team, also from Carnegie Mellon University. HiTech and ChipTest shared some code, and Hitech was already playing in the tournament. The two teams became rivals. Designing and implementing ChipTest revealed many possibilities for improvement, so the designers started on a new machine. Deep Thought 0.01 was created in May 1988 and the version 0.02 in November the same year. This new version had two customized VLSI chess processors and it was able to search 720,000 moves per second. With the "0.02" dropped from its name, Deep Thought won the World Computer Chess Championship with a perfect 5–0 score in 1989.

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