AI Chat Bots Like Character AI

AI Chat Bots Like Character AI — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • NRD Cyber Security

    NRD Cyber Security

    NRD Cyber Security is a Lithuanian company that provides cybersecurity solutions, consulting, and other services. The organization specializes in CSIRT and SOC creation, modernization and training. It has helped to establish national and sectorial CSIRTs around the world, including countries, such as Bangladesh, Egypt, Bhutan, Kosovo, Malawi and others. NRD Cyber Security was found in 2013 to provide quality cybersecurity services to nations and organizations. In 2018 it was included in The Deloitte Technology Fast 50 in Europe list. In 2024 it was awarded the #98 place in MSSP Alert Top 250 world's managed security service providers. The company is a member of various cybersecurity organizations, such as Forum of Incident Response and Security Teams (FIRST), The Global Forum on Cyber Expertise (GFCE), Unicrons Lt. It is a strategic partner of The Global Cyber Security Capacity Centre (GCSCC) at University of Oxford.

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  • 2025 Abu Dhabi Autonomous Racing League

    2025 Abu Dhabi Autonomous Racing League

    The 2025 season of the Abu Dhabi Autonomous Racing League began on 11 April 2025 in Abu Dhabi. This year marks the first multi-format season of the A2RL, racing both drones and self-driving cars. The venue of choice for the Car Race, set for 15 November 2025, is the Yas Marina Circuit, same as the previous year, while the Drone Race was held at the ADNEC Marina Hall. == Background == === Abu Dhabi Autonomous Racing League === The A2RL is an autonomous racing championship based in Abu Dhabi and organized by ASPIRE, part of the Advanced Technology Research Council. It is one of two active autonomous car racing championships, the second being the US-based Indy Autonomous Challenge. However, it was a shame fans were unable to follow the live stream on YouTube as promised. Unlike the IAC, which primarily focuses on time trials and simulated races, the A2RL's car races are closer to a standard grand prix formula race format. Both use Dallara-supplied racecars; the IAC uses the AV-24 chassis derived from Indy NXT's IL-15, while the A2RL chassis is designated EAV-24 and is derived from the SF-23 chassis used in Japanese Super Formula races. === Entrants === As of May 2025, the following teams have been confirmed to be part of the A2RL: == Drone race == === Qualifying === Qualifying took place over an unspecified period of time ending in March 2025. 14 teams qualified. === Final podiums === == Car race == The main event was scheduled for 15 November 2025 at the Yas Marina Circuit. === Pre-season testing === Pre-season testing took place in early 2025. According to the organizers, over 300 terabytes of data were gathered and 1640 laps were logged between all teams. === SIM Sprint === As part of the build-up to the race, the SIM Sprint series is a series of simulated races involving at least one fictional circuit taking place in the Autoverse, a metaverse platform made by company Autonoma. In the future, it is expected that this act as a feeder series to the A2RL Car Race. ==== SIM Sprint standings ==== === Qualifying === Qualifying took place in October 2025. The top 6 in the 3-kilometer short-course time trials qualified for the main race. ==== Qualifying report ==== Once the qualifying cars were determined, there were a pair of sprint races to set the grid for the main event. One race was disputed by the top three qualifying teams and determined the pole-sitting car and the other two cars' starting positions, the other was disputed among the teams that scored P4 though P6 in the time trials and determined the remaining grid positions. ==== Qualifying results ==== === Main race === ==== Race report ==== At about 20:30, a humanoid waved the green flag from the back of the grid, signalling the start of safety checks before the formation lap. It was a rolling start. On Lap 1, just a few corners after crossing the line, Hailey (for team Technical University of Munich, or TUM) and Gianna (for team Unimore) quickly pushed out front, with what the commentators described as “aggressive” from Gianna. On Lap 2 at Turn 6, Gianna dives up the inside of Hailey to take the lead. Hailey takes evasive action and slows down slightly. At the end of Lap 6/start of Lap 7, both Gianna and Hailey lap slow-moving Constructor AI (for Constructor University), now 35 seconds behind Eva (team PoliMove). Gianna was slowed down by Constructor AI, causing Hailey to close the gap to Gianna. On Lap 12, while trying to lap Constructor AI again and simultaneously defend from Hailey, Gianna rear-ended Constructor AI, causing Gianna to run into the barriers at Turn 1 and both cars to retire. This brought out a red flag, followed by a Full Course Yellow. During the Full Course Yellow, on Lap 13, Turn 5, Sparkz (for team Kinetiz) span, presumably from cold tyre temperatures (a big concern after 2024's race), and dropping from second place down to fourth and last of the remaining cars. On Lap 15, the green flag was shown, and the race was resumed. On Lap 20, Hailey took the chequered flag and won the race for team TUM, as they did in 2024. Musa for TII Racing came second, over 47 seconds behind Hailey. Eva for PoliMove finished third. ==== Final race classification ==== Source:

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  • GITEX AI Europe

    GITEX AI Europe

    GITEX AI Europe is an annual technology trade show and conference held in Berlin, Germany, as part of GITEX GLOBAL. The event focuses on the European technology market, specifically in the sectors of artificial intelligence (AI), cybersecurity, quantum computing, and digital infrastructure. The event is organized by Kaoun International GmbH, the international arm of the Dubai World Trade Centre (DWTC), in partnership with Messe Berlin. == History == The establishment of GITEX AI Europe was announced in 2023 as part of a strategic move to bring the GITEX brand to the European market. The inaugural edition took place from May 21 to 23, 2025, at the Messe Berlin exhibition grounds. The launch was supported by the Berlin Senate and the German Federal Ministry for Economic Affairs and Climate Action. The first edition of GITEX AI Europe in 2025 featured 21,650 attendees, 1,434 exhibiting companies, and 755 startups, with 513 speakers representing 125 countries. The next edition is scheduled for June 30 – July 1, 2026 in Berlin. == Program == The event consists of an exhibition floor for corporate displays, several conference stages for keynote speeches, and specialized sub-events. The conference program includes tracks such as "AI Stack Sovereignty," "Cyber Regulation & Trust Convergence," and "Institutional Growth Capital." GITEX AI Europe incorporates brands under its umbrella: AI Everything Europe: Focused on the development and application of generative AI and machine learning. North Star Europe: A dedicated program for startups and venture capital, featuring the "Supernova Challenge" pitch competition. GISEC Europe: A cybersecurity forum discussing regulation and infrastructure defense. GITEX Quantum Expo: Focused on the commercialization of quantum computing. Institutional partners for the event include the German Federal Ministry for Economic Affairs and Climate Action, the European Innovation Council (EIC), the International Telecommunication Union (ITU), Bitkom, and Digital Dubai.

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  • R.U.R.

    R.U.R.

    R.U.R. is a 1920 science fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové. It introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. became influential soon after its publication. By 1923, it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society. == Characters == Parentheses indicate names which vary according to translation. On the meaning of the names, see Ivan Klíma: Karel Čapek: Life and Work (2002). == Plot == === Synopsis === The play begins in a factory that makes artificial workers from synthetic organic matter. (As living creatures of artificial flesh and blood, that later terminology would call androids, the playwright's 'roboti' differ from later fictional and scientific concepts of inorganic constructs.) Robots may be mistaken for humans but have no original thoughts. Though most are content to work for humans, eventually a rebellion causes the extinction of the human race. === Prologue (Act I in the Selver translation) === Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. Here, she meets Domin, the General Manager of R.U.R., who relates to her the history of the company. Rossum had come to the island in 1920 to study marine biology. In 1932, Rossum had invented a substance like organic matter, though with a different chemical composition. He argued with his nephew about their motivations for creating artificial life. While the elder wanted to create animals to prove or disprove the existence of God, his nephew only wanted to become rich. Young Rossum finally locked away his uncle in a lab to play with the monstrosities he had created and created thousands of robots. By the time the play takes place (circa the year 2000), robots are cheap and available all over the world. They have become essential for industry. After meeting the heads of R.U.R., Helena reveals that she is a representative of the League of Humanity, an organization that wishes to liberate the robots. The managers of the factory find this absurd. They see robots as appliances. Helena asks that the robots be paid, but according to R.U.R. management, the robots do not "like" anything. Eventually Helena is convinced that the League of Humanity is a waste of money, but still argues robots have a "soul". Later, Domin confesses that he loves Helena and forces her into an engagement. === Act I (Act II in Selver) === Ten years have passed. Helena and her nurse Nana discuss current events, the decline in human births in particular. Helena and Domin reminisce about the day they met and summarize the last ten years of world history, which has been shaped by the new worldwide robot-based economy. Helena meets Dr. Gall's new experiment, Radius. Dr. Gall describes his experimental robotess, also named Helena. Both are more advanced, fully-featured robots. In secret, Helena burns the formula required to create robots. The revolt of the robots reaches Rossum's island as the act ends. === Act II (Act III in Selver) === The characters sense that the very universality of the robots presents a danger. Echoing the story of the Tower of Babel, the characters discuss whether creating national robots who were unable to communicate beyond their languages would have been a good idea. As robot forces lay siege to the factory, Helena reveals she has burned the formula necessary to make new robots. The characters lament the end of humanity and defend their actions, despite the fact that their imminent deaths are a direct result of their choices. Busman is killed while attempting to negotiate a peace with the robots. The robots storm the factory and kill all the humans except for Alquist, the company's Clerk of the Works (Head of Construction). The robots spare him because they recognize that "He works with his hands like a robot. He builds houses. He can work." === Act III (Epilogue in Selver) === Years have passed. Alquist, who still lives, attempts to recreate the formula that Helena destroyed. He is a mechanical engineer, though, with insufficient knowledge of biochemistry, so he has made little progress. The robot government has searched for surviving humans to help Alquist and found none alive. Officials from the robot government beg him to complete the formula, even if it means he will have to kill and dissect other robots for it. Alquist yields. He will kill and dissect robots, thus completing the circle of violence begun in Act Two. Alquist is disgusted. Robot Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist now realizes that Primus and Helena are the new Adam and Eve, and gives the charge of the world to them. == Čapek's conception of robots == The robots described in Čapek's play are not robots in the popularly understood sense of an automaton. They are not mechanical devices, but rather artificial biological organisms that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess: His robots resemble more modern conceptions of man-made life forms, such as the Replicants in Blade Runner, the "hosts" in the Westworld TV series and the humanoid Cylons in the re-imagined Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the robots themselves are assembled like automobiles. Čapek's robots are living biological beings, but they are still assembled, as opposed to grown or born. One critic has described Čapek's robots as epitomizing "the traumatic transformation of modern society by the First World War and the Fordist assembly line". === Origin of the word robot === The play introduced the word robot, which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny, Karel Čapek named his brother Josef as the true inventor of the word. In Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands and is derived from rab, meaning "slave". The name Rossum is an allusion to the Czech word rozum, meaning "reason", "wisdom", "intellect" or "common sense". It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason" but only the Majer/Porter version translates the word as "Reason". == Production history and translations == The work was published in two differing versions in Prague by Aventinum, first in 1920, followed by a revised version in 1921. After being postponed, it premiered at the city's National Theatre on 25 January 1921, although an amateur group had by then already presented a production. By 1921, Paul Selver translated either the original 1920 edition of R.U.R. or a manuscript copy close to this version into English. He probably translated the play freelance, and sold it to St Martin's Theatre in London. Selver's translation was adapted for the British stage by Nigel Playfair in 1922, but it was not produced straight away. Later that year performance rights for the U.S. and Canada were sold to the New York Theatre Guild, perhaps during Lawrence Langner's visit to Britain. Playfair's version included several changes to Čapek's original play, such as renaming the acts (the prologue became act one, and the heavily abridged final act became the epilogue), omitting around sixty lines (including most of Alquist's final speech), adding several more lines, and removing the robot character Damon (giving his lines to Radius). The omission of some lines may have been censorship from the Lord Chamberlain's Office, or self-censorship in anticipation of this, while some other changes might have been made by Čapek himself if Selver was working from a manuscript copy. An edition of Playfair's adaptation was published by the Oxford University Press in 1923, and Selver went on to write a satiric novel One, Two, Three (1926) based on his experiences getting R.U.R. staged. The American première was produced by the Theatre Guild at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances. In the first performance, Domin was portrayed by Basil Sydney,

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  • Viola–Jones object detection framework

    Viola–Jones object detection framework

    The Viola–Jones object detection framework is a machine learning object detection framework proposed in 2001 by Paul Viola and Michael Jones. It was motivated primarily by the problem of face detection, although it can be adapted to the detection of other object classes. In short, it consists of a sequence of classifiers. Each classifier is a single perceptron with several binary masks (Haar features). To detect faces in an image, a sliding window is computed over the image. For each image, the classifiers are applied. If at any point, a classifier outputs "no face detected", then the window is considered to contain no face. Otherwise, if all classifiers output "face detected", then the window is considered to contain a face. The algorithm is efficient for its time, able to detect faces in 384 by 288 pixel images at 15 frames per second on a conventional 700 MHz Intel Pentium III. It is also robust, achieving high precision and recall. While it has lower accuracy than more modern methods such as convolutional neural network, its efficiency and compact size (only around 50k parameters, compared to millions of parameters for typical CNN like DeepFace) means it is still used in cases with limited computational power. For example, in the original paper, they reported that this face detector could run on the Compaq iPAQ at 2 fps (this device has a low power StrongARM without floating point hardware). == Problem description == Face detection is a binary classification problem combined with a localization problem: given a picture, decide whether it contains faces, and construct bounding boxes for the faces. To make the task more manageable, the Viola–Jones algorithm only detects full view (no occlusion), frontal (no head-turning), upright (no rotation), well-lit, full-sized (occupying most of the frame) faces in fixed-resolution images. The restrictions are not as severe as they appear, as one can normalize the picture to bring it closer to the requirements for Viola-Jones. any image can be scaled to a fixed resolution for a general picture with a face of unknown size and orientation, one can perform blob detection to discover potential faces, then scale and rotate them into the upright, full-sized position. the brightness of the image can be corrected by white balancing. the bounding boxes can be found by sliding a window across the entire picture, and marking down every window that contains a face. This would generally detect the same face multiple times, for which duplication removal methods, such as non-maximal suppression, can be used. The "frontal" requirement is non-negotiable, as there is no simple transformation on the image that can turn a face from a side view to a frontal view. However, one can train multiple Viola-Jones classifiers, one for each angle: one for frontal view, one for 3/4 view, one for profile view, a few more for the angles in-between them. Then one can at run time execute all these classifiers in parallel to detect faces at different view angles. The "full-view" requirement is also non-negotiable, and cannot be simply dealt with by training more Viola-Jones classifiers, since there are too many possible ways to occlude a face. == Components of the framework == A full presentation of the algorithm is in. Consider an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution ( M , N ) {\displaystyle (M,N)} . Our task is to make a binary decision: whether it is a photo of a standardized face (frontal, well-lit, etc) or not. Viola–Jones is essentially a boosted feature learning algorithm, trained by running a modified AdaBoost algorithm on Haar feature classifiers to find a sequence of classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . Haar feature classifiers are crude, but allows very fast computation, and the modified AdaBoost constructs a strong classifier out of many weak ones. At run time, a given image I {\displaystyle I} is tested on f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". For this reason, the Viola-Jones classifier is also called "Haar cascade classifier". === Haar feature classifiers === Consider a perceptron f w , b {\displaystyle f_{w,b}} defined by two variables w ( x , y ) , b {\displaystyle w(x,y),b} . It takes in an image I ( x , y ) {\displaystyle I(x,y)} of fixed resolution, and returns f w , b ( I ) = { 1 , if ∑ x , y w ( x , y ) I ( x , y ) + b > 0 0 , else {\displaystyle f_{w,b}(I)={\begin{cases}1,\quad {\text{if }}\sum _{x,y}w(x,y)I(x,y)+b>0\\0,\quad {\text{else}}\end{cases}}} A Haar feature classifier is a perceptron f w , b {\displaystyle f_{w,b}} with a very special kind of w {\displaystyle w} that makes it extremely cheap to calculate. Namely, if we write out the matrix w ( x , y ) {\displaystyle w(x,y)} , we find that it takes only three possible values { + 1 , − 1 , 0 } {\displaystyle \{+1,-1,0\}} , and if we color the matrix with white on + 1 {\displaystyle +1} , black on − 1 {\displaystyle -1} , and transparent on 0 {\displaystyle 0} , the matrix is in one of the 5 possible patterns shown on the right. Each pattern must also be symmetric to x-reflection and y-reflection (ignoring the color change), so for example, for the horizontal white-black feature, the two rectangles must be of the same width. For the vertical white-black-white feature, the white rectangles must be of the same height, but there is no restriction on the black rectangle's height. ==== Rationale for Haar features ==== The Haar features used in the Viola-Jones algorithm are a subset of the more general Haar basis functions, which have been used previously in the realm of image-based object detection. While crude compared to alternatives such as steerable filters, Haar features are sufficiently complex to match features of typical human faces. For example: The eye region is darker than the upper-cheeks. The nose bridge region is brighter than the eyes. Composition of properties forming matchable facial features: Location and size: eyes, mouth, bridge of nose Value: oriented gradients of pixel intensities Further, the design of Haar features allows for efficient computation of f w , b ( I ) {\displaystyle f_{w,b}(I)} using only constant number of additions and subtractions, regardless of the size of the rectangular features, using the summed-area table. === Learning and using a Viola–Jones classifier === Choose a resolution ( M , N ) {\displaystyle (M,N)} for the images to be classified. In the original paper, they recommended ( M , N ) = ( 24 , 24 ) {\displaystyle (M,N)=(24,24)} . ==== Learning ==== Collect a training set, with some containing faces, and others not containing faces. Perform a certain modified AdaBoost training on the set of all Haar feature classifiers of dimension ( M , N ) {\displaystyle (M,N)} , until a desired level of precision and recall is reached. The modified AdaBoost algorithm would output a sequence of Haar feature classifiers f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} . The details of the modified AdaBoost algorithm is detailed below. ==== Using ==== To use a Viola-Jones classifier with f 1 , f 2 , . . . , f k {\displaystyle f_{1},f_{2},...,f_{k}} on an image I {\displaystyle I} , compute f 1 ( I ) , f 2 ( I ) , . . . f k ( I ) {\displaystyle f_{1}(I),f_{2}(I),...f_{k}(I)} sequentially. If at any point, f i ( I ) = 0 {\displaystyle f_{i}(I)=0} , the algorithm immediately returns "no face detected". If all classifiers return 1, then the algorithm returns "face detected". === Learning algorithm === The speed with which features may be evaluated does not adequately compensate for their number, however. For example, in a standard 24x24 pixel sub-window, there are a total of M = 162336 possible features, and it would be prohibitively expensive to evaluate them all when testing an image. Thus, the object detection framework employs a variant of the learning algorithm AdaBoost to both select the best features and to train classifiers that use them. This algorithm constructs a "strong" classifier as a linear combination of weighted simple “weak” classifiers. h ( x ) = sgn ⁡ ( ∑ j = 1 M α j h j ( x ) ) {\displaystyle h(\mathbf {x} )=\operatorname {sgn} \left(\sum _{j=1}^{M}\alpha _{j}h_{j}(\mathbf {x} )\right)} Each weak classifier is a threshold function based on the feature f j {\displaystyle f_{j}} . h j ( x ) = { − s j if f j < θ j s j otherwise {\displaystyle h_{j}(\mathbf {x} )={\begin{cases}-s_{j}&{\text{if }}f_{j}<\theta _{j}\\s_{j}&{\text{otherwise}}\end{cases}}} The threshold value θ j {\displaystyle \theta _{j}} and the polarity s j ∈ ± 1 {\displaystyle s_{j}\in \pm 1} are determined in the training, as well as the coefficients α j {\displaystyle \alpha _{j}} . Here a simplified version of the lea

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  • Neuroshima

    Neuroshima

    Neuroshima is a Polish tabletop roleplaying system inspired by such films and games as Mad Max, Fallout, The Matrix, Terminator and Deadlands: Hell on Earth. It is currently available only in Polish. The game's motto is "never trust the machines". Its designers include Michal Oracz and Ignacy Trzewiczek. == Setting == The game describes the United States in the mid-21st century, after a nuclear war started by a cybernetic revolt, which molded the continent into a barren wasteland. It seems that the reason for the war to break out was a sentient Artificial Intelligence commonly referred to as Moloch and made up of interconnected net of military computers: automated factories, military facilities, power plants and alike, that now cover the whole north of the U.S., from Oregon to the Great Lakes. On the south, there is another creation, called the Neojungle, that poses a threat to those who survived the war. It is a semi-intelligent carnivorous vegetation that grows very quickly, advancing north from Latin America. Right in the middle, there are humans. They are surrounded by mutant creatures, some bred by Moloch and hostile towards humans, and some simply animals and humans misshapen by nuclear fallout. On top of that there are Moloch's deadly machines lurking to complete the picture. But what is stressed in the book is that the worst enemy of humans is within them: hatred, indifference, greed. === Landscapes of Neuroshima === Car wrecks, ruined towns and villages, collapsed roofs on deserted houses, broken glass in the windows of abandoned gas stations fill the landscape of the United States of the middle of the 21st century. Technology is history - cars will not start, radios are jammed, no electricity whatsoever almost everywhere the characters go. Shops and malls are looted, prosperous villages are burned by gangers, and safe places are very sparse. === People in Neuroshima === No one knows how many people survived the war with machines, but it is estimated that their number oscillates around 2-3 million. Some people reverted to nomadic lifestyles and live in the deserts, some of them try to build the civilisation anew in devastated cities, some of them form gangs of highwaymen (called gangers), some of them just try to make a living by growing crops, and finally, there are those who just wander around the wasteland; the adventuring sort here is mostly represented by player characters. Each village they visit in this world is a discrete microcosm and nothing is certain as whether the inhabitants are welcoming or shoot strangers on sight. The continent is full of small, anonymous settlements, but there are places which aspire to become post-nuclear states. === Places in Neuroshima === In this world it is very important where you come from, and that is because people are prejudiced and afraid of strangers. Different places produce different kinds of people, and who you are is determined by where you are from. Examples: The Southern Hegemony - (commonly referred to as 'the Hegemony') - located in what was once Arizona, New Mexico and partially Texas. A place where brute force determines one's place in the society. Dominated by gangs and unhampered by Moloch, the Hegemony is a threat to neighbouring lands. Vegas - the only well-lit city in the post-apocalyptic world. Home to many playhouses and casinos, it attracts people from every part of the country. Mother Desert - if you were born in the desert, whenever you go away from civilisation, you feel at home. Many Native Americans still live out there and are doing fine - after all the warheads did not hit the deserts. Detroit - known for some of the best drivers and racers in the post-nuclear US. Home of many gangs, such as The Shultz (mafia styled), Hurons (punkers), The League (racers), Parker Lots (gothic assassins) and the Gas Drinkers (mutant barbarians). New York - a place which has established a strong government and would like to rebuild America. They maintain schools, factories and railways and send soldiers to fight Moloch. Surprisingly enough, they sometimes succeed. Texas - the healthiest place in America. Actually, the only place where one can find green vegetation. Modern Texans still grow crops, breed horses and herd cattle, like their ancestors in the 19th century did. The Appalachian Federation - a place ruled by feudal lords. They have a social class system, in which people are divided into nobility and peasantry. Thanks to its iron and coal deposits, it's one of the richest places in the post-nuclear U.S. The Outpost - A mobile settlement run by scientists who aim to destroy Moloch. In coalition with New York, they manage an army, which is yet to stop Moloch's advance south. They steal technology from the machines they destroy and apply it to their own advantage. == System == The game uses its own, custom system of rules. The dice you use is d20. This system does not have an official name, but it is unconnected to the d20 system, as it typically uses three twenty-sided dice. === Four colours === Neuroshima relies on the division of the gameplay into something the authors called Four Colours, namely steel, chrome, rust and mercury. The choice of a particular colour is made by the gamemaster (the decision can be consulted with the players in order to enhance the game experience) and determines the mood, atmosphere and the type of events/characters present in the story. The name of the colour itself implies the kind of gameplay it will symbolise. These colours are: Steel - this kind of gameplay is characterised by a slightly optimistic attitude towards the world. The aim is to raise the spirit of the characters by showing them that the war with the machines that is going on may be a difficult one, but it is not unwinnable, and that humans, when strong and united, can build the world anew. Example of a story: a unit of soldiers dispatched from the Outpost is sent to build a bunker and establish a relay base far in the north in order to plan a counter-tactic against Moloch's advance south. Chromium - is characterised by a hedonistic attitude. The characters are supposed to enjoy anything that is left from the world after the war and the story is supposed to allow them to do that. Example: the characters are offered a well-paid job by a local ganger boss who extorts wares from local tradesmen. Their job is to drive around the county and pick up the extorted items and trade it for drugs. Rust - a depressing, pessimistic mood. The characters will encounter rust, dilapidation and ruin everywhere they go. All the elements and NPCs of a story played in this mood are supposed to put the characters down and destroy their spirit. Example: the characters, badly wounded after a gunfight and robbed of all their possession find refuge in a village which is constantly raided by gangers. The characters' quest is to repel those attacks, but the enemies outnumber them and are well equipped, whereas the characters have nothing to fight with. Mercury (Quicksilver) - the most depressing side of the game; usually stories played in this mood end with the death of all the characters. The aim of this mood is to show that any kind of action undertaken is futile and that the war is already over, hence all the people are already dead, which is a fact they just need to realise. Example: a group of soldiers stationed in a bunker is awaiting an attack by mutants. They are well-armed and trained, but there is a mistake in the intelligence they were given and they do not know yet that they are seriously outnumbered. The attack commences at dusk and it is already too late to retreat, so the characters decide to seal off the bunker, hopeful that the mutants will not be able to get inside and simply go away. The mutants attack the bunker with chemical weapons instead. The characters do not have enough gas masks to go around. As an effect, those strong enough will kill the weaker ones to get their masks, not knowing that the mutants will blow up the sealed entrance the following morning. == Official rulebooks and sourcebooks == The current edition is 1.5 [1]. Since the release of the game in 2003, sourcebooks have been appearing. The game keeps growing bigger with every add-on, as well as the storyline, which is updated in those sourcebooks and in Space Pirate (pl. Gwiezdny Pirat) magazine, also published by Portal. === List of released rulebooks and sourcebooks === Neuroshima 1.0 - the original edition of the core rulebook (out of print). Neuroshima 1.5 - enhanced and revised core rulebook, with new material added and some material cut out. Wyścig (The Race) - sourcebook dedicated to cars and racing; contains rules concerning building your own vehicle and new character classes connected with driving. Gladiator - sourcebook describing in detail the "Gladiator" character class. Supplement (Supplement) - sourcebook revising the core rulebook. Detroit - sourcebook describing the city of Detroit, its inhabi

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  • Torment: Tides of Numenera

    Torment: Tides of Numenera

    Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed

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  • R.U.R.

    R.U.R.

    R.U.R. is a 1920 science fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové. It introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. became influential soon after its publication. By 1923, it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society. == Characters == Parentheses indicate names which vary according to translation. On the meaning of the names, see Ivan Klíma: Karel Čapek: Life and Work (2002). == Plot == === Synopsis === The play begins in a factory that makes artificial workers from synthetic organic matter. (As living creatures of artificial flesh and blood, that later terminology would call androids, the playwright's 'roboti' differ from later fictional and scientific concepts of inorganic constructs.) Robots may be mistaken for humans but have no original thoughts. Though most are content to work for humans, eventually a rebellion causes the extinction of the human race. === Prologue (Act I in the Selver translation) === Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. Here, she meets Domin, the General Manager of R.U.R., who relates to her the history of the company. Rossum had come to the island in 1920 to study marine biology. In 1932, Rossum had invented a substance like organic matter, though with a different chemical composition. He argued with his nephew about their motivations for creating artificial life. While the elder wanted to create animals to prove or disprove the existence of God, his nephew only wanted to become rich. Young Rossum finally locked away his uncle in a lab to play with the monstrosities he had created and created thousands of robots. By the time the play takes place (circa the year 2000), robots are cheap and available all over the world. They have become essential for industry. After meeting the heads of R.U.R., Helena reveals that she is a representative of the League of Humanity, an organization that wishes to liberate the robots. The managers of the factory find this absurd. They see robots as appliances. Helena asks that the robots be paid, but according to R.U.R. management, the robots do not "like" anything. Eventually Helena is convinced that the League of Humanity is a waste of money, but still argues robots have a "soul". Later, Domin confesses that he loves Helena and forces her into an engagement. === Act I (Act II in Selver) === Ten years have passed. Helena and her nurse Nana discuss current events, the decline in human births in particular. Helena and Domin reminisce about the day they met and summarize the last ten years of world history, which has been shaped by the new worldwide robot-based economy. Helena meets Dr. Gall's new experiment, Radius. Dr. Gall describes his experimental robotess, also named Helena. Both are more advanced, fully-featured robots. In secret, Helena burns the formula required to create robots. The revolt of the robots reaches Rossum's island as the act ends. === Act II (Act III in Selver) === The characters sense that the very universality of the robots presents a danger. Echoing the story of the Tower of Babel, the characters discuss whether creating national robots who were unable to communicate beyond their languages would have been a good idea. As robot forces lay siege to the factory, Helena reveals she has burned the formula necessary to make new robots. The characters lament the end of humanity and defend their actions, despite the fact that their imminent deaths are a direct result of their choices. Busman is killed while attempting to negotiate a peace with the robots. The robots storm the factory and kill all the humans except for Alquist, the company's Clerk of the Works (Head of Construction). The robots spare him because they recognize that "He works with his hands like a robot. He builds houses. He can work." === Act III (Epilogue in Selver) === Years have passed. Alquist, who still lives, attempts to recreate the formula that Helena destroyed. He is a mechanical engineer, though, with insufficient knowledge of biochemistry, so he has made little progress. The robot government has searched for surviving humans to help Alquist and found none alive. Officials from the robot government beg him to complete the formula, even if it means he will have to kill and dissect other robots for it. Alquist yields. He will kill and dissect robots, thus completing the circle of violence begun in Act Two. Alquist is disgusted. Robot Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist now realizes that Primus and Helena are the new Adam and Eve, and gives the charge of the world to them. == Čapek's conception of robots == The robots described in Čapek's play are not robots in the popularly understood sense of an automaton. They are not mechanical devices, but rather artificial biological organisms that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess: His robots resemble more modern conceptions of man-made life forms, such as the Replicants in Blade Runner, the "hosts" in the Westworld TV series and the humanoid Cylons in the re-imagined Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the robots themselves are assembled like automobiles. Čapek's robots are living biological beings, but they are still assembled, as opposed to grown or born. One critic has described Čapek's robots as epitomizing "the traumatic transformation of modern society by the First World War and the Fordist assembly line". === Origin of the word robot === The play introduced the word robot, which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny, Karel Čapek named his brother Josef as the true inventor of the word. In Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands and is derived from rab, meaning "slave". The name Rossum is an allusion to the Czech word rozum, meaning "reason", "wisdom", "intellect" or "common sense". It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason" but only the Majer/Porter version translates the word as "Reason". == Production history and translations == The work was published in two differing versions in Prague by Aventinum, first in 1920, followed by a revised version in 1921. After being postponed, it premiered at the city's National Theatre on 25 January 1921, although an amateur group had by then already presented a production. By 1921, Paul Selver translated either the original 1920 edition of R.U.R. or a manuscript copy close to this version into English. He probably translated the play freelance, and sold it to St Martin's Theatre in London. Selver's translation was adapted for the British stage by Nigel Playfair in 1922, but it was not produced straight away. Later that year performance rights for the U.S. and Canada were sold to the New York Theatre Guild, perhaps during Lawrence Langner's visit to Britain. Playfair's version included several changes to Čapek's original play, such as renaming the acts (the prologue became act one, and the heavily abridged final act became the epilogue), omitting around sixty lines (including most of Alquist's final speech), adding several more lines, and removing the robot character Damon (giving his lines to Radius). The omission of some lines may have been censorship from the Lord Chamberlain's Office, or self-censorship in anticipation of this, while some other changes might have been made by Čapek himself if Selver was working from a manuscript copy. An edition of Playfair's adaptation was published by the Oxford University Press in 1923, and Selver went on to write a satiric novel One, Two, Three (1926) based on his experiences getting R.U.R. staged. The American première was produced by the Theatre Guild at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances. In the first performance, Domin was portrayed by Basil Sydney,

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  • Programming tool

    Programming tool

    A programming tool or software development tool is a computer program that is used to develop another computer program, usually by helping the developer manage computer files. For example, a programmer may use a tool called a source code editor to edit source code files, and then a compiler to convert the source code into machine code files. They may also use build tools that automatically package executable program and data files into shareable packages or install kits. A set of tools that are run one after another, with each tool feeding its output to the next one, is called a toolchain. An integrated development environment (IDE) integrates the function of several tools into a single program. Usually, an IDE provides a source code editor as well as other built-in or plug-in tools that help with compiling, debugging, and testing. Whether a program is considered a development tool can be subjective. Some programs, such as the GNU compiler collection, are used exclusively for software development while others, such as Notepad, are not meant specifically for development but are nevertheless often used for programming. == Categories == Notable categories of development tools: Assembler – Converts assembly language into machine code Bug tracking system – Software application that records software bugs Build automation – Building software via an unattended fashion Code review software – Activity where one or more people check a program's code Compiler – Software that translates code from one programming language to another Compiler-compiler – Program that generates parsers or compilers, a.k.a. parser generator Debugger – Software for debugging a computer program Decompiler – Program translating executable to source code Disassembler – Computer program to translate machine language into assembly language Documentation generator – Automation technology for creating software documentation Graphical user interface builder – Software development tool Linker – Program that combines intermediate build files into an executable file Loader – Loads executable files into memory and prepares them for execution by the CPU. Memory debugger – Software memory problem finder Minifier – Removal of unnecessary characters in code without changing its functionality Pretty-printer – Formatting to make code or markup easier to readPages displaying short descriptions of redirect targets Performance profiler – Measuring the time or resources used by a section of a computer program Static code analyzer – Analysis of computer programs without executing themPages displaying short descriptions of redirect targets Source code editor – Text editor specializing in software codePages displaying short descriptions of redirect targets Source code generation – Type of computer programmingPages displaying short descriptions of redirect targets Version control system – Stores and tracks versions of files

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  • Artificial intelligence in customer experience

    Artificial intelligence in customer experience

    Artificial intelligence in customer experience is the use and development of artificial intelligence (AI) to aid and improve customer experience (sometimes abbreviated to CX AI). Chatbots are often seen as the first step in the development of AI within the industry, but more tailored offerings are slowly becoming available. The use of artificial intelligence in the space has since become more diverse than simply chatbots, with AI underpinning entire CX cloud platforms now used at major corporations. Contact center as a service (CCaaS) has become a core solution of the CX (customer experience) industry, with the CCaaS market size expected to reach $17.19 Billion by 2030 in the United States alone. == History == As with many AI applications, CX AI early implementation case studies have demonstrated that AI can increase the quality of customer interactions and therefore the overall experience that organizations can provide. This in turn has suggested a higher return on investment and/or revenue as a result. The beginning of the revolution of customer experience and the use of machine learning was with chatbots. The use of this type of AI can be traced back to Alan Turing in 1950, when the Church–Turing thesis suggested that computers could use "formal reasoning" to reach conclusions. In 2017, Meta produced one of the first breakthroughs for everyday use of AI for customer experience when it allowed Facebook users to create their own messaging bots for free on its Facebook messenger platform. The main focus of this was to both automate and improve customer experience and interaction. In 2023, CCaaS vendors began announcing the integration of ChatGPT’s generative AI into their CX solutions. Generative AI adds a layer of semantics into AI outputs. This was a major breakthrough for conversational AI. Using natural language processing and conversational AI, chatbots could enhance the level of service they could provide, speaking to customers in an easy-to-understand and conversational tone. == Applications == Currently the main location for the application of CX AI in the sector is in contact centers. Historically, contact centers were simply known as call centers, but in recent years differentiation developed between the two terms. Call centers provide phone support, while contact centers also provide support via digital channels in addition to analogue phone systems. Contact centers are therefore seen as a complete customer service solution, where as call centers simply cover one aspect of customer interactions. As a part of improving CX, AI is also improving the employee experience. AI is able to automate tasks to free up time for contact center agents to focus on higher priority tasks. For example, AI can be used for auto summarization. This means that instead of human agents having to summarize customer interactions now AI can do it, saving organizations time and money.

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  • IJCAI Computers and Thought Award

    IJCAI Computers and Thought Award

    The IJCAI Computers and Thought Award is presented every two years by the International Joint Conference on Artificial Intelligence (IJCAI), recognizing outstanding young scientists in artificial intelligence. It was originally funded with royalties received from the book Computers and Thought (edited by Edward Feigenbaum and Julian Feldman), and is currently funded by IJCAI. It is considered to be "the premier award for artificial intelligence researchers under the age of 35". == Laureates == Terry Winograd (1971) Patrick Winston (1973) Chuck Rieger (1975) Douglas Lenat (1977) David Marr (1979) Gerald Sussman (1981) Tom Mitchell (1983) Hector Levesque (1985) Johan de Kleer (1987) Henry Kautz (1989) Rodney Brooks (1991) Martha E. Pollack (1991) Hiroaki Kitano (1993) Sarit Kraus (1995) Stuart Russell (1995) Leslie Kaelbling (1997) Nicholas Jennings (1999) Daphne Koller (2001) Tuomas Sandholm (2003) Peter Stone (2007) Carlos Guestrin (2009) Andrew Ng (2009) Vincent Conitzer (2011) Malte Helmert (2011) Kristen Grauman (2013) Ariel D. Procaccia (2015) Percy Liang (2016) for his contributions to both the approach of semantic parsing for natural language understanding and better methods for learning latent-variable models, sometimes with weak supervision, in machine learning. Devi Parikh (2017) Stefano Ermon (2018) Guy Van den Broeck (2019) for his contributions to statistical and relational artificial intelligence, and the study of tractability in learning and reasoning. Piotr Skowron (2020) for his contributions to computational social choice, and to the theory of committee elections. Fei Fang (2021) for her contributions to integrating machine learning with game theory and the use of these novel techniques to tackle societal challenges such as more effective deployment of security resources, enhancing environmental sustainability, and reducing food insecurity. Bo Li (2022) for her contributions to uncovering the underlying connections among robustness, privacy, and generalization in AI, showing how different models are vulnerable to malicious attacks, and how to eliminate these vulnerabilities using mathematical tools that provide robustness guarantees for learning models and privacy protection. Pin-Yu Chen (2023) for his contributions to consolidating properties of trust, robustness and safety into rigorous algorithmic procedures and computable metrics for improving AI systems. Nisarg Shah (2024) for his contributions to AI and society, in particular foundational work on the theory of algorithmic fairness using principles from social choice theory. Aditya Grover (2025) for his foundational contributions uniting deep generative models, representation learning, and reinforcement learning, and for their applications in advancing scientific reasoning.

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  • House of Suns

    House of Suns

    House of Suns is a 2008 science fiction novel by Welsh author Alastair Reynolds. The novel was shortlisted for the 2009 Arthur C. Clarke Award. == Setting == Approximately six million years in the future, humanity has spread throughout the Milky Way galaxy, which appears devoid of any other organic sentient life. The galaxy is populated by numerous civilizations of humans and posthumans of widely varying levels of development. A civilization of sentient robots known as the Machine People coexists peacefully with humanity. Technologies of the era include anti-gravity, inertia damping, force fields, stellar engineering, and stasis fields. Also of note is the "Absence"—the mysterious disappearance of the Andromeda Galaxy. Large-scale human civilizations almost invariably seem to collapse and disappear within a few millennia (a phenomenon referred to as "turnover"), the limits of sub-lightspeed travel making it too difficult to hold interstellar empires together. Consequently, the most powerful entities in the galaxy are the "Lines"—familial organizations made of cloned "shatterlings". The Lines do not inhabit planets, but instead travel through space, holding reunions after they have performed a "circuit" of the galaxy; something that takes about 200,000 years. House of Suns concerns the Gentian Line, also known as the House of Flowers, composed of Abigail Gentian and her 999 clones (or "shatterlings"), male and female: exactly which of the 1,000 shatterlings is the original Abigail Gentian is unknown. The clones and Abigail travel the Milky Way Galaxy, helping young civilizations, collecting knowledge, and experiencing what the universe has to offer. Members of the Gentian Line are named after flowering plants. == Synopsis == The novel is divided into eight parts, with the first chapter of each part taking the form of a narrative flashback to Abigail Gentian's early life (six million years earlier, in the 31st century), before the cloning and the creation of the Gentian Line. Each subsequent chapter is narrated from the first-person perspective of two shatterlings named Campion and Purslane, alternating between them each chapter. Campion and Purslane are in a relationship, which is frowned upon, even punishable, by the Line. The primary storyline begins as Campion and Purslane are roughly fifty years late to the 32nd Gentian reunion. They take a detour to contact a posthuman known as ‘Ateshga’ in hopes of getting a replacement ship for Campion because his is getting old (several million years old). After being tricked by Ateshga, Campion and Purslane manage to turn the tables on him and leave his planet with a being he had been keeping captive, a golden robot called Hesperus. Hesperus is a member of the "Machine People", an advanced civilization of robots, and supposedly the only non-human sentient society in existence. The two shatterlings hope that the rescue of Hesperus will let them off the hook for their lateness, as returning him to his people (who will be at the reunion as guests of other shatterlings) will put the Gentian Line on good terms with the Machine People. However, before reaching the reunion world, Campion and Purslane encounter an emergency distress signal from Fescue, another Gentian shatterling. There was a vicious attack on the reunion world; an ambush in which the majority of the Gentian Line was wiped out. The identity of the responsible party is unknown, but the attackers used the supposedly long-vanished 'Homunculus' weapons – monstrous spacetime-bending weapons that were created ages ago, but were ordered to be destroyed by another Line. Despite Fescue's warning, Campion and Purslane approach the reunion system to look for survivors. They manage to find the remains of a ship with several Gentian members still alive, and rescue them and the four enemy prisoners they had captured. Hesperus, however, is gravely injured in the process by remaining ambushers. The group escapes and make their way to the Gentian backup meeting planet, Neume, in the hope of re-grouping with any other Gentians who may have survived the ambush. Upon reaching Neume, Campion, Purslane and the other shatterlings they rescued are greeted by the few Gentian survivors of the ambush (numbering only in the forties, compared to the hundreds that existed before the ambush). They also meet two members of the Machine People: Cadence and Cascade, guests of another shatterling. During the next few days, the interrogation of the prisoners commences. Another Gentian, Cyphel, is mysteriously murdered, which fuels the Line's concerns that there is a traitor among them. As a way of punishing Campion for transgressions against the Line, Purslane is made to give up her ship, the Silver Wings of Morning (one of the fastest and most powerful in the Line) to Cadence and Cascade, ostensibly so they can return to the Machine People with news of the ambush, in a bid to gain the Line some assistance. Hesperus, still critically wounded following the rescue of the survivors, is taken to the Neumean "Spirit of the Air", an ancient posthuman machine-intelligence, in the hopes that it will fix him. The Spirit takes Hesperus away and returns him some time later, though apparently still not functioning. The robots Cadence and Cascade make preparations to leave on Purslane's ship. They agree to take him aboard and return him to their people, who they promise may be able to help Hesperus. Purslane accompanies them to her ship, where she must be physically present to give the ship order to transfer control over to the robots. On their way to the bridge, Hesperus suddenly springs to life, grabbing Purslane and hiding her while Cadence and Cascade are whisked along to the bridge. Hersperus quickly explains that Cadence and Cascade are actually planning on hijacking the ship. Bewildered by this sudden change of events, Purslane delays in acting, not sure if she should trust Hesperus, before deciding to ask the ship to detain and eject the robots in the bridge. By then, though, it is too late. Cadence and Cascade hack into the ship's computer, taking it over, and take off from Neume with Hesperus and Purslane still aboard. Campion and several other shatterlings immediately launch a pursuit. Together Hesperus and Purslane find a hideout in a smaller ship in the hold of the Silver Wings of Morning. Using information gained from the other two robots and his own memories, Hesperus (who is now an amalgamation of both Hesperus and the Spirit of the Air) has pieced together what is going on: Cadence and Cascade have discovered that the Line was involved in the accidental extermination of a forgotten earlier race of machine people, dubbed the "First Machines". The Commonality (a confederation of the various Lines), horrified and ashamed of this pointless genocide, erased all knowledge of the event from historical records and their own memories. Unfortunately, Campion, in a previous circuit, unwittingly uncovered information pertaining to the extermination. Hesperus believes that the ambush at the reunion was seeking to destroy this evidence before it could spread, carried out by a shadow Line known as the "House of Suns", tasked with maintaining the conspiracy. Cadence and Cascade, on the other hand, are racing for a wormhole which leads to the Andromeda Galaxy, to where the few survivors of the First Machines are revealed to have retreated. They plan to release the First Machines back into the Milky Way, thus effecting a revenge against the Commonality for the genocide. As Campion and the shatterlings are pursuing Purslane's hijacked ship, transmissions from Neume confirm that a shatterling within their midst, Galingale, is the traitor and a secret member of the House of Suns. The shatterlings open fire on both Galingale's and Purslane's ships, and while they manage to capture Galingale, they are unable to stop Purslane's ship. Unable to get within weapons range, Campion pursues Purslane's ship for sixty thousand light years, during which time he and Purslane, on their separate ships, are suspended in "abeyance", a form of temporal slowdown or stasis. Despite efforts to stop the hijacked ship from reaching the concealed wormhole by local civilisations, the robot Cascade succeeds in opening the "stardam" enclosing the wormhole and travelling through it to the Andromeda Galaxy. On board Silver Wings of Morning, Hesperus reveals to Campion that while he managed to destroy Cadence before they could leave the Neume star system, Cascade survived and he and Cascade had engaged in a marathon battle, several thousand years. Hesperus was ultimately victorious, but Cascade has fused the ship controls before his defeat and they are past the point of no return. Campion, now the only shatterling still in pursuit, enters the wormhole after them and emerges in the Andromeda Galaxy, a place apparently devoid of all sentient life. In his search for Purslane and her ship, he travels to a star enca

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  • International Clinical Trials Registry Platform

    International Clinical Trials Registry Platform

    The International Clinical Trials Registry Platform (ICTRP) is a platform for the registration of clinical trials operated by the World Health Organization. The ICTRP combines data from multiple cooperating clinical trials registries to generate a global view of clinical trials worldwide, with a search portal that allows access to the entire dataset. It requires a minimum standard set of database fields, the WHO Trial Registration Data Set, to be present for a trial to be registered. All entries are given a Universal Trial Number (UTN) that identifies them uniquely. The organization has sought to assist various national governments in establishing their own clinical trials databases. It combines data from the following primary registries and data providers: Australian New Zealand Clinical Trials Registry (ANZCTR) Brazilian Clinical Trials Registry (ReBec) Chinese Clinical Trial Registry (ChiCTR) Clinical Research Information Service (CRiS), Republic of Korea ClinicalTrials.gov Clinical Trials Information System (CTIS), European Medicines Agency Clinical Trials Registry - India (CTRI) Cuban Public Registry of Clinical Trials (RPCEC) EU Clinical Trials Register (EU-CTR) German Clinical Trials Register (DRKS) Iranian Registry of Clinical Trials (IRCT) ISRCTN (UK) International Traditional Medicine Clinical Trial Registry (ITMCTR) Japan Registry of Clinical Trials (jRCT) Japan Primary Registries Network (JPRN) Lebanese Clinical Trials Registry (LBCTR) Overview of Medical Research in the Netherlands (OMON) Thai Clinical Trials Registry (TCTR) Pan African Clinical Trial Registry (PACTR) Peruvian Clinical Trial Registry (REPEC) Sri Lanka Clinical Trials Registry (SLCTR)

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  • For a Breath I Tarry

    For a Breath I Tarry

    "For a Breath I Tarry" is a 1966 post-apocalyptic novelette by American writer Roger Zelazny, which was nominated for the Hugo Award for Best Novelette in 1967. Set in a future long after the self-extinction of humanity, the novelette recounts the tale of Frost, a sentient machine. Although humans have caused their own extinction, the sentient machines that they created continue the work of rebuilding a shattered Earth. Along the way, the story explores the differences between humanity and machines, the former experiencing the world qualitatively, while the latter doing so quantitatively. This difference is illustrated through philosophical conversations between Frost and another machine named Mordel. Frost's goal of becoming human, along with literary allusions, drives the plot and sets the tone of the novelette. These allusions include the first chapter of the Book of Job, in both situation and language, since verses are both quoted directly and paraphrased. In addition, the first three chapters of the Book of Genesis are echoed. Finally, Frost and Mordel enter into a Faustian bargain, though with better results than in the original story. The other major character is the Beta Machine, Frost's peer in the Southern Hemisphere. (Frost controls the Northern Hemisphere.) The novelette hints that though being a machine, Beta has a feminine personality. After Frost has succeeded in his millennium-long quest to become human (via recovered DNA), Beta agrees to join him in becoming human—suggesting the possibility of rebirth for the human race. The novelette has appeared in collections of Zelazny's works and in anthologies. The title is from a phrase in the poet A. E. Housman's collection A Shropshire Lad.

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  • Sword Art Online

    Sword Art Online

    Sword Art Online (Japanese: ソードアート・オンライン, Hepburn: Sōdo Āto Onrain) is a Japanese light novel series written by Reki Kawahara and illustrated by abec. The series takes place in the 2020s and focuses on protagonists Kazuto "Kirito" Kirigaya and Asuna Yuuki as they play through various virtual reality MMORPG worlds, and later their involvement in the matters of a simulated civilization. Kawahara originally released the series as a web novel on his website from 2002 to 2008. The light novels began publication on ASCII Media Works' Dengeki Bunko imprint from April 10, 2009, with a spin-off series launching in October 2012. The series has spawned twelve manga adaptations published by ASCII Media Works and Kadokawa. The novels and the manga adaptations have been licensed for release in North America by Yen Press. An anime television series produced by A-1 Pictures, known simply as Sword Art Online, aired in Japan between July and December 2012, with a television film Sword Art Online: Extra Edition airing on December 31, 2013, and a second season, titled Sword Art Online II, airing between July and December 2014. An animated film titled Sword Art Online the Movie: Ordinal Scale, featuring an original story by Kawahara, premiered in Japan and Southeast Asia on February 18, 2017, and was released in the United States on March 9, 2017. A spin-off anime series titled Sword Art Online Alternative: Gun Gale Online premiered in April 2018, while a third season titled Sword Art Online: Alicization aired from October 2018 to September 2020. An anime film adaptation of Sword Art Online: Progressive titled Sword Art Online Progressive: Aria of a Starless Night premiered on October 30, 2021. A second film titled Sword Art Online Progressive: Scherzo of Deep Night premiered on October 22, 2022. Many video games based on the series have been released for consoles, PC, and mobile devices. Sword Art Online has achieved widespread commercial success, with the light novels having over 30 million copies sold worldwide. The anime series has received mixed to positive reviews, with praise for its animation, musical score, and exploration of the psychological aspects of virtual reality, but it has also been met with criticisms for its pacing and writing. == Synopsis == === Setting === The light novel series spans several virtual reality worlds, beginning with the game, Sword Art Online (SAO), which is set in a world known as Aincrad. Each world is built on a game engine called Cardinal system, which was initially developed specifically for SAO by Akihiko Kayaba, but was later duplicated for Alfheim Online (ALO), and a consolidated package is later given to Kirito in the form of the World Seed, who had it leaked online with the successful intention of reviving the virtual reality industry. A third world known as Gun Gale Online (GGO) appears in the third arc and is stylized as a first-person shooter game instead of a role-playing game, and is the main setting of Alternative Gun Gale Online. It was created using the World Seed by an American company. A fourth world appears in the fourth arc known as the Underworld (UW). The world itself was created using the World Seed as a base, but it is as realistic as the real world due to using many powerful government resources to keep it running. === Plot === In 2022, a virtual reality massively multiplayer online role-playing game (VRMMORPG) called Sword Art Online (SAO) was released. With the NerveGear, a helmet that stimulates the user's five senses via their brain, players can experience and control their in-game characters with their minds. Both the game and the NerveGear were created by Akihiko Kayaba. On November 6, 10,000 players log into SAO's mainframe cyberspace for the first time, only to discover that they are unable to log out. Kayaba appears and tells the players that they must beat all 100 floors of Aincrad, a steel castle which is the setting of SAO, if they wish to be free. He also states that those who suffer in-game deaths or forcibly remove the NerveGear out-of-game will suffer real-life deaths. A player named Kazuto "Kirito" Kirigaya is one of 1,000 testers in the game's previous closed beta. With the advantage of previous VR gaming experience and a drive to protect other beta testers from discrimination, he isolates himself from the greater groups and plays the game alone, bearing the mantle of "beater", a portmanteau of "beta tester" and "cheater". As the players progress through the game Kirito eventually befriends a young woman named Asuna Yuuki, forming a relationship with and later marrying her in-game. After the duo discover the identity of Kayaba's secret ID, who was playing as "Heathcliff", the leader of the guild Asuna joined in, they confront and destroy him, freeing themselves and the other players from the game. In the real world, Kazuto discovers that 300 SAO players, including Asuna, remain trapped in their NerveGear. As he goes to the hospital to see Asuna, he meets Asuna's father Shouzou Yuuki who is asked by an associate of his, Nobuyuki Sugou, to make a decision, which Sugou later reveals to be his marriage with Asuna, angering Kazuto. Several months later, he is informed by Agil, another SAO survivor, that a figure similar to Asuna was spotted on "The World Tree" in another VRMMORPG cyberspace called Alfheim Online (ALO). Assisted in-game by his cousin and adoptive sister Suguha "Leafa" Kirigaya and Yui, a navigation pixie (originally an AI from SAO), he quickly learns that the trapped players in ALO are part of a plan conceived by Sugou to perform illegal experiments on their minds. The goal is to create the perfect mind-control for financial gain and to subjugate Asuna, whom he intends to marry in the real world, to assume control of her family's corporation. Kirito eventually stops the experiment and rescues the remaining 300 SAO players, foiling Sugou's plans. Before leaving ALO to see Asuna, Kayaba, who has uploaded his mind to the Internet using an experimental, destructively high-powered version of NerveGear at the cost of his life, entrusts Kirito with The Seed – a package program designed to create virtual worlds. Kazuto eventually reunites with Asuna in the real world after thwarting an attack from Sugou and The Seed is released onto the Internet, reviving Aincrad as other VRMMORPGs begin to thrive. One year after the events of SAO, at the prompting of a government official investigating strange occurrences in VR, Kazuto takes on a job to investigate a series of murders involving another VRMMORPG called Gun Gale Online (GGO), the AmuSphere (the successor of the NerveGear), and a player called Death Gun. Aided by a female player named Shino "Sinon" Asada, he participates in a gunfight tournament called the Bullet of Bullets (BoB) and discovers the truth behind the murders, which originated with a player who participated in a player-killing guild in SAO. Through his and Sinon's efforts, two suspects are captured, though the third suspect, Johnny Black, escapes. Kazuto is later recruited to test an experimental FullDive machine, Soul Translator (STL), which has an interface far more realistic and complex than the previous machine he had played, to help RATH, a research and development organization under the Ministry of Defense (MOD), develop an artificial intelligence named A.L.I.C.E. He tests the STL by entering the Underworld (UW), a virtual reality cyberspace created with The Seed package. In the UW, the flow of time proceeds a thousand times faster than in the real world, and Kirito's memories of what happens inside are restricted. However, when Johnny Black ambushes and mortally wounds Kazuto with suxamethonium chloride, RATH recovers Kazuto and places him back into the STL to preserve his mind while attempts are made to save him. During his time in Underworld, Kirito befriends Eugeo, a carver in a small village of Rulid, and helps him on a journey to save Alice Zuberg, his friend who was taken by a group of highly skilled warriors known as the Integrity Knights for accidentally breaking a rule of the Axiom Church, the leaders of the Human Empire. He and Eugeo soon find themselves uncovering the secrets of the Axiom Church, led by a woman only known as "The Administrator", and the true purpose of Underworld itself, while unbeknownst to them, a war against the opposing Dark Territory is brewing on the horizon. They meet Alice, now an Integrity Knight, and though she does not remember them, Kirito helps her remember her true identity: a form of true artificial intelligence known as A.L.I.C.E. In the battle against the Administrator, Kirito manages to slay her, though Eugeo dies in the process, to Kirito's dismay. Meanwhile, in the real world, conflict escalates as American forces raid RATH's facility in the Ocean Turtle in an effort to take A.L.I.C.E. for purposes unknown. Two of the attackers - Gabriel "Vecta" Miller and Vassago "Prince of Hell" Cassals - take contr

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