AI Chat On Google

AI Chat On Google — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Multiple buffering

  In computer science, multiple buffering is the use of more than one buffer to hold a block of data, so that a "reader" will see a complete (though perhaps old) version of the data instead of a partially updated version of the data being created by a "writer". It is very commonly used for computer display images. It is also used to avoid the need to use dual-ported RAM (DPRAM) when the readers and writers are different devices. == Description == === Double buffering Petri net === The Petri net in the illustration shows double buffering. Transitions W1 and W2 represent writing to buffer 1 and 2 respectively while R1 and R2 represent reading from buffer 1 and 2 respectively. At the beginning, only the transition W1 is enabled. After W1 fires, R1 and W2 are both enabled and can proceed in parallel. When they finish, R2 and W1 proceed in parallel and so on. After the initial transient where W1 fires alone, this system is periodic and the transitions are enabled – always in pairs (R1 with W2 and R2 with W1 respectively). == Double buffering in computer graphics == In computer graphics, double buffering is a technique for drawing graphics that shows less stutter, tearing, and other artifacts. It is difficult for a program to draw a display so that pixels do not change more than once. For instance, when updating a page of text, it is much easier to clear the entire page and then draw the letters than to somehow erase only the pixels that are used in old letters but not in new ones. However, this intermediate image is seen by the user as flickering. In addition, computer monitors constantly redraw the visible video page (traditionally at around 60 times a second), so even a perfect update may be visible momentarily as a horizontal divider between the "new" image and the un-redrawn "old" image, known as tearing. === Software double buffering === A software implementation of double buffering has all drawing operations store their results in some region of system RAM; any such region is often called a "back buffer". When all drawing operations are considered complete, the whole region (or only the changed portion) is copied into the video RAM (the "front buffer"); this copying is usually synchronized with the monitor's raster beam in order to avoid tearing. Software implementations of double buffering necessarily require more memory and CPU time than single buffering because of the system memory allocated for the back buffer, the time for the copy operation, and the time waiting for synchronization. Compositing window managers often combine the "copying" operation with "compositing" used to position windows, transform them with scale or warping effects, and make portions transparent. Thus, the "front buffer" may contain only the composite image seen on the screen, while there is a different "back buffer" for every window containing the non-composited image of the entire window contents. === Page flipping === In the page-flip method, instead of copying the data, both buffers are capable of being displayed. At any one time, one buffer is actively being displayed by the monitor, while the other, background buffer is being drawn. When the background buffer is complete, the roles of the two are switched. The page-flip is typically accomplished by modifying a hardware register in the video display controller—the value of a pointer to the beginning of the display data in the video memory. The page-flip is much faster than copying the data and can guarantee that tearing will not be seen as long as the pages are switched over during the monitor's vertical blanking interval—the blank period when no video data is being drawn. The currently active and visible buffer is called the front buffer, while the background page is called the back buffer. == Triple buffering == In computer graphics, triple buffering is similar to double buffering but can provide improved performance. In double buffering, the program must wait until the finished drawing is copied or swapped before starting the next drawing. This waiting period could be several milliseconds during which neither buffer can be touched. In triple buffering, the program has two back buffers and can immediately start drawing in the one that is not involved in such copying. The third buffer, the front buffer, is read by the graphics card to display the image on the monitor. Once the image has been sent to the monitor, the front buffer is flipped with (or copied from) the back buffer holding the most recent complete image. Since one of the back buffers is always complete, the graphics card never has to wait for the software to complete. Consequently, the software and the graphics card are completely independent and can run at their own pace. Finally, the displayed image was started without waiting for synchronization and thus with minimum lag. Due to the software algorithm not polling the graphics hardware for monitor refresh events, the algorithm may continuously draw additional frames as fast as the hardware can render them. For frames that are completed much faster than interval between refreshes, it is possible to replace a back buffers' frames with newer iterations multiple times before copying. This means frames may be written to the back buffer that are never used at all before being overwritten by successive frames. Nvidia has implemented this method under the name "Fast Sync". An alternative method sometimes referred to as triple buffering is a swap chain three buffers long. After the program has drawn both back buffers, it waits until the first one is placed on the screen, before drawing another back buffer (i.e. it is a 3-long first in, first out queue). Most Windows games seem to refer to this method when enabling triple buffering. == Quad buffering == The term quad buffering is the use of double buffering for each of the left and right eye images in stereoscopic implementations, thus four buffers total (if triple buffering was used then there would be six buffers). The command to swap or copy the buffer typically applies to both pairs at once, so at no time does one eye see an older image than the other eye. Quad buffering requires special support in the graphics card drivers which is disabled for most consumer cards. AMD's Radeon HD 6000 Series and newer support it. 3D standards like OpenGL and Direct3D support quad buffering. == Double buffering for DMA == The term double buffering is used for copying data between two buffers for direct memory access (DMA) transfers, not for enhancing performance, but to meet specific addressing requirements of a device (particularly 32-bit devices on systems with wider addressing provided via Physical Address Extension). Windows device drivers are a place where the term "double buffering" is likely to be used. Linux and BSD source code calls these "bounce buffers". Some programmers try to avoid this kind of double buffering with zero-copy techniques. == Other uses == Double buffering is also used as a technique to facilitate interlacing or deinterlacing of video signals.

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  The Eye of Mexico

  The Eye of Mexico (Spanish: El Ojo de México) is an outdoor sculpture in Mexico City. It is located in Ampliación Granada, Miguel Hidalgo, at the mixed-use development Neuchâtel Polanco, developed by the Canadian real estate company Ivanhoé Cambridge. The artwork was created by the Turkish artist Ferdi Alıcı and it was selected from among 350 proposals from artists from 35 countries. The project for The Eye of Mexico was developed by MIRA, a real estate investment and development company, and MASSIVart, a creative consulting agency. According to MIRA, upon its inauguration it became the first artwork in Latin America to use artificial intelligence (AI). The sculpture can read environmental and urban data using AI algorithms and transform the results into videos related to arts, science and technology. The ring was inaugurated on 20 May 2022 and it is 10 meters (33 ft) high and 3 meters (9.8 ft) wide.

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  Fuzzy number

  A fuzzy number is a generalization of a regular real number in the sense that it does not refer to one single value but rather to a connected set of possible values, where each possible value has its own weight between 0 and 1. This weight is called the membership function. A fuzzy number is thus a special case of a convex, normalized fuzzy set of the real line. Just like fuzzy logic is an extension of Boolean logic (which uses absolute truth and falsehood only, and nothing in between), fuzzy numbers are an extension of real numbers. Calculations with fuzzy numbers allow the incorporation of uncertainty on parameters, properties, geometry, initial conditions, etc. The arithmetic calculations on fuzzy numbers are implemented using fuzzy arithmetic operations, which can be done by two different approaches: (1) interval arithmetic approach; and (2) the extension principle approach. A fuzzy number is equal to a fuzzy interval. The degree of fuzziness is determined by the a-cut which is also called the fuzzy spread.

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  17776

  17776 (also known as What Football Will Look Like in the Future) is a serialized speculative fiction multimedia narrative by Jon Bois, published online through SB Nation. Set in the distant future in which all humans have become immortal and infertile, the series follows three sapient space probes that watch humanity play an evolved form of American football in which games can be played for millennia over distances of thousands of miles. The series debuted on July 5, 2017, and new chapters were published daily until the series concluded with its twenty-fifth chapter on July 15, 2017. Bois began developing 17776 in 2016. Because the story incorporates text, animated GIFs, still images, and videos hosted on YouTube, new tools were developed to allow it to be hosted efficiently on the SB Nation website. The work explores themes of consciousness, hope, despair, and why humans play sports. 17776 was well received by critics, who praised it for its innovative use of its medium and for the depth of emotion it evoked. In 2018, the story won a National Magazine Award for Digital Innovation and was longlisted for both the Hugo Awards for Best Novella and Best Graphic Story. It is followed by a sequel series: 20020, released from September to October 2020. The sequel series follows a 111-team game of college football on fields spanning 130,000 miles (210,000 km) across the United States. Bois originally intended to follow up with a further series entitled 20021; however, it was postponed indefinitely. In May 2025, Bois announced that the series would be continued with a novel titled 50007: An American Football Odyssey. == Premise == The story takes place on a future Earth where humans stopped dying, aging, and being born on April 7, 2026. All social ills were subsequently eliminated, and technology preventing humans from any injury was developed. In the United States, American football evolved to include new rules, including those that allow fields thousands of miles long, hundreds of in-game players, and games millennia long. Over time, computers gained sentience due to constant exposure to broadcast human data. By the year 17776, the space probe Pioneer 9 (called Nine) has gained sentience and made contact with Pioneer 10 (called Ten) and the Jupiter Icy Moons Explorer (called Juice). As Nine adjusts to a world radically different from that of the 20th century, the three space probes watch multiple football games occurring across the United States: a game using the entirety of Nebraska as a field in which the next point scored wins the game; a game in which players strive to possess every existing football autographed by obscure NFL player Koy Detmer; a game played between the Canadian border and the Mexican border deadlocked for 13,000 years at the bottom of a gorge in Arizona; an NFL regulation game between the Denver Broncos and the Pittsburgh Steelers that changed over 15,000 years into 58 playing teams owning and capitalizing upon portions of Sports Authority Field at Mile High while the ball is lost; a 500 game that results in the destruction of the Centennial Light; and a game in which the possessing player is attempting to score an automatic win by hiding in his team's end zone for 10,000 years. == Format == 17776 is read by scrolling through web pages occupied by large GIF images and colored dialogue text, interspersed with occasional YouTube videos. The story is divided into chapters, which were originally published in daily installments between July 5 and 15, 2017. Much of the GIF and video content of the series uses Google Earth satellite imagery, 3D buildings, and other tools within Google Earth to create animations and visual effects. == Development == Bois wrote and illustrated 17776 for Vox Media's sports news website SB Nation, of which he is creative director. Aside from 17776, Bois produces two other recurring, humorous video essay programs for the site: Pretty Good, which focuses on unusual sports topics and stories, and Chart Party, which focuses on statistics and has an emphasis on Bois' use of visual art in his journalism and storytelling. Bois is also known for the Breaking Madden series, in which he attempted unusual scenarios in the Madden NFL series of video games. In early 2016, Bois began developing an "anti-sci fi" project as a possible sequel to The Tim Tebow CFL Chronicles, an earlier work for SB Nation, and set the story in a year far enough in the future that "nobody ever thinks about it." Although he liked the concept and the visuals, he believed the project would not connect with readers and shelved it. Later, he realized that the story needed a centering character; he wrote one in the form of a small town, AM radio talk show host before coming up with the characters of the probes. Development renewed in May 2016, and the project solidified after SB Nation published its article "The Future of Football." Bois described it as the biggest project he ever attempted. The series was developed by Graham MacAree, who used a Vox Media tool that creates custom packages from standard article sets to give Bois creative leeway and to accommodate the series' weight on the SB Nation website. MacAree found that there were few resources online for achieving the desired effects. == Themes == Bois has stated that he had "conceived [17776] to give the reader a good time," asserting that this "was literally the whole point." William Hughes writing for The A.V. Club described 17776 as concerned with why humans play sports: "That is, given the massive resources, time, and information at our disposal (not to mention those available to our descendants), why does communal game-playing still hold such an important place in society?" He also listed consciousness, hope, and despair as among the work's themes. Beth Elderkin of io9 described it as "a deep thought experiment into what we consider humanly possible". She also felt that Ten and Juice take on the role of angel and devil, and she suggested the two may be unreliable narrators. Ian Crouch of The New Yorker felt that the work had a "tonal echo" of Don DeLillo's 1972 novel End Zone due to thematic similarities "with the way that the order and logic of football might act as a counterbalance to the chaos of the real world". == Reception == According to the communications director at Vox Media, 17776 garnered over 2.3 million pageviews by July 10. Two days later, it had received more than 2.9 million pageviews. Average engagement time was over nine minutes, and 43 percent of readers finished each installment of the series published by July 7. On July 19, Bois claimed that 17776 received 700,000 unique visitors and 4 million total pageviews, with an average engagement time of 11 minutes. Thu-Huong Ha for Quartz described 17776 as "part Italo Calvino, part Peter Heller [author of The Dog Stars], with humor seemingly from within the depths of Reddit," saying that the story would appeal to fans of both sports and literature. Tor.com described the first chapter as full of tension and felt that receiving answers is a "surprisingly heartbreaking" experience "lessened by a gleeful bouncing immaturity" one would not expect from the characters. Beth Elderkin at io9 said the series is "akin to Homestuck" and described it as "weird, complex, and pretty spectacular". William Hughes writing for The A.V. Club felt that 17776 is a "truly innovative piece of work". After reading the first three chapters, Agatha French of the Los Angeles Times stated that she was "impressed and excited by the innovation" of what she saw, and that she was intrigued despite not knowing what the work is or is saying. She felt the work took full advantage of its online medium and suggested that it "may also be a glimpse into the future of reading on the Internet". Ian Crouch of The New Yorker described the series as, "despite its seemingly meagre parts, a thing of startling beauty". Of the chapters published by July 12, he felt "the most striking chapter" to be one that used audio of Verne Lundquist calling the end of a 2013 game between the University of Alabama and Auburn University over a video panning over Earth. He also noted that the series was compared to Homestuck and relayed additional comparisons to Thomas Pynchon novels and "a Reddit thread hijacked by robot trolls". The series won the inaugural National Magazine Award for Digital Innovation from the American Society of Magazine Editors; this was the first National Magazine Award nomination and win for SB Nation. It was described by the judges as "an extraordinary combination of art, fiction and technology, an online acid trip that had to be experienced to be believed." It was also longlisted for the Hugo Awards for Best Novella and Best Graphic Story in 2018, ultimately finishing in 11th place in both categories. == Sequel series == On September 28, 2020, a sequel titled 20020 was launched on Secret Base, a branch of SB Nation; on October 13, it was revea

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  Automatic acquisition of sense-tagged corpora

  The knowledge acquisition bottleneck is perhaps the major impediment to solving the word-sense disambiguation (WSD) problem. Unsupervised learning methods rely on knowledge about word senses, which is barely formulated in dictionaries and lexical databases. Supervised learning methods depend heavily on the existence of manually annotated examples for every word sense, a requisite that can so far be met only for a handful of words for testing purposes, as it is done in the Senseval exercises. == Existing methods == Therefore, one of the most promising trends in WSD research is using the largest corpus ever accessible, the World Wide Web, to acquire lexical information automatically. WSD has been traditionally understood as an intermediate language engineering technology which could improve applications such as information retrieval (IR). In this case, however, the reverse is also true: Web search engines implement simple and robust IR techniques that can be successfully used when mining the Web for information to be employed in WSD. The most direct way of using the Web (and other corpora) to enhance WSD performance is the automatic acquisition of sense-tagged corpora, the fundamental resource to feed supervised WSD algorithms. Although this is far from being commonplace in the WSD literature, a number of different and effective strategies to achieve this goal have already been proposed. Some of these strategies are: acquisition by direct Web searching (searches for monosemous synonyms, hypernyms, hyponyms, parsed gloss' words, etc.), Yarowsky algorithm (bootstrapping), acquisition via Web directories, and acquisition via cross-language meaning evidences. == Summary == === Optimistic results === The automatic extraction of examples to train supervised learning algorithms reviewed has been, by far, the best explored approach to mine the web for word-sense disambiguation. Some results are certainly encouraging: In some experiments, the quality of the Web data for WSD equals that of human-tagged examples. This is the case of the monosemous relatives plus bootstrapping with Semcor seeds technique and the examples taken from the ODP Web directories. In the first case, however, Semcor-size example seeds are necessary (and only available for English), and it has only been tested with a very limited set of nouns; in the second case, the coverage is quite limited, and it is not yet clear whether it can be grown without compromising the quality of the examples retrieved. It has been shown that a mainstream supervised learning technique trained exclusively with web data can obtain better results than all unsupervised WSD systems which participated at Senseval-2. Web examples made a significant contribution to the best Senseval-2 English all-words system. === Difficulties === There are, however, several open research issues related to the use of Web examples in WSD: High precision in the retrieved examples (i.e., correct sense assignments for the examples) does not necessarily lead to good supervised WSD results (i.e., the examples are possibly not useful for training). The most complete evaluation of Web examples for supervised WSD indicates that learning with Web data improves over unsupervised techniques, but the results are nevertheless far from those obtained with hand-tagged data, and do not even beat the most-frequent-sense baseline. Results are not always reproducible; the same or similar techniques may lead to different results in different experiments. Compare, for instance, Mihalcea (2002) with Agirre and Martínez (2004), or Agirre and Martínez (2000) with Mihalcea and Moldovan (1999). Results with Web data seem to be very sensitive to small differences in the learning algorithm, to when the corpus was extracted (search engines change continuously), and on small heuristic issues (e.g., differences in filters to discard part of the retrieved examples). Results are strongly dependent on bias (i.e., on the relative frequencies of examples per word sense). It is unclear whether this is simply a problem of Web data, or an intrinsic problem of supervised learning techniques, or just a problem of how WSD systems are evaluated (indeed, testing with rather small Senseval data may overemphasize sense distributions compared to sense distributions obtained from the full Web as corpus). In any case, Web data has an intrinsic bias, because queries to search engines directly constrain the context of the examples retrieved. There are approaches that alleviate this problem, such as using several different seeds/queries per sense or assigning senses to Web directories and then scanning directories for examples; but this problem is nevertheless far from being solved. Once a Web corpus of examples is built, it is not entirely clear whether its distribution is safe from a legal perspective. === Future === Besides automatic acquisition of examples from the Web, there are some other WSD experiments that have profited from the Web: The Web as a social network has been successfully used for cooperative annotation of a corpus (OMWE, Open Mind Word Expert project), which has already been used in three Senseval-3 tasks (English, Romanian and Multilingual). The Web has been used to enrich WordNet senses with domain information: topic signatures and Web directories, which have in turn been successfully used for WSD. Also, some research benefited from the semantic information that the Wikipedia maintains on its disambiguation pages. It is clear, however, that most research opportunities remain largely unexplored. For instance, little is known about how to use lexical information extracted from the Web in knowledge-based WSD systems; and it is also hard to find systems that use Web-mined parallel corpora for WSD, even though there are already efficient algorithms that use parallel corpora in WSD.

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  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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  Clanker

  Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.

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  Futuresport

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

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  INDIAai

  INDIAai is a web portal launched by the Government of India on 07 March 2024 for artificial intelligence-related developments in India. It is known as the National AI Portal of India, which was jointly started by the Ministry of Electronics and Information Technology (MeitY), the National e-Governance Division (NeGD) and the National Association of Software and Service Companies (NASSCOM) with support from the Department of School Education and Literacy (DoSE&L) and Ministry of Human Resource Development. == History == The portal was launched on 30 May 2020, by Ravi Shankar Prasad, the Union Minister for Electronics and IT, Law and Justice and Communications, on the first anniversary of the second tenure of Prime Minister Narendra Modi-led government. A national program for the youth, 'Responsible AI for Youth', was also launched on the same day. As of 2022, the website was visited by more than 4.5 lakh users with 1.2 million page views. It has 1151 articles on artificial intelligence, 701 news stories, 98 reports, 95 case studies and 213 videos on its portal. It maintains a database on AI ecosystem of India featuring 121 government initiatives and 281 startups. In May 2022, INDIAai released a book titled 'AI for Everyone' that covers the basics of AI. Cabinet chaired by the Prime Minister Narendra Modi has approved the comprehensive national-level IndiaAI mission with a budget outlay of Rs.10,371.92 crore. The Mission will be implemented by ‘IndiaAI’ Independent Business Division (IBD) under Digital India Corporation (DIC). == Objective and features == It aims to function as a one-stop portal for all AI-related development in India. The platform publishes resources such as articles, news, interviews, and investment funding news and events for AI startups, AI companies, and educational firms related to artificial intelligence in India. It also distributes documents, case studies, and research reports. Additionally, the platform provides education and employment opportunities related to AI. It offers AI courses, both free and paid.

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  Stephanie Dinkins

  Stephanie Dinkins (born 1964) is a transdisciplinary American artist based in Brooklyn, New York. She creates art about artificial intelligence (AI) as it intersects race, gender, and history. Her aim is to "create a unique culturally attuned AI entity in collaboration with coders, engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community." Dinkins projects include Conversations with Bina48, a series of conversations between Dinkins and the first social, artificially intelligent humanoid robot BINA48 who looks like a black woman and Not the Only One, a multigenerational artificially intelligent memoir trained off of three generations of Dinkins's family. == Early life and education == Dinkins was born in Perth Amboy, New Jersey to Black American parents who raised her in Staten Island, New York. She credits her grandmother with teaching her how to think about art as a social practice, saying "my grandmother . . . was a gardener and the garden was her art . . . that was a community practice." Dinkins attended the International Center of Photography School in New York City in 1995, where she completed the general studies in photography certificate program. Dinkins received a MFA in photography from the Maryland Institute College of Art in 1997 She completed the Independent Study Program at the Whitney Museum of American Art in 1998. == Career == Dinkins is the Yayoi Kusama Professor of Art at Stony Brook University in New York. == Activism == Dinkins advocates for co-creation within a social practice art framework, so that vulnerable communities understand how to use technology to their advantage, instead of being subjected to their use. This is exemplified in her works such as Project al-Khwarzmi, a series of workshops entitled PAK POP-UP at the nonprofit community center Recess in Brooklyn, NY. The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. == Art == Dinkins's practice employs technologies including, but not limited to, new media such as artificial intelligence and machine learning. Dinkins uses oral history techniques of interviewing to craft community-authored narratives and databases which inform the subjects of her work and serve as acts of social intervention or protest. === Conversations with Bina48 (2014–present) === Dinkins began working on Conversations with Bina48 in 2014. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. Dinkins mirrors Bina48 while they discuss identity and technological singularity. In 2010, Hanson Robotics, an engineering and robotics company known for its development of humanoid robots, developed and released BINA48. Bina48 is a robot modeled after the memories, beliefs, attitudes, commentary and mannerisms of Bina Aspen Rothblatt, the spousal partner of Martine Rothblatt. Both Bina and Martine Rothblatt own Bina48 under their organization, the Terasem Movement Foundation. Five years after Bina48 was released, Dinkins came across a YouTube video of Bina48. She asked, "how did a black woman become the most advanced of the technologies at the time?" Her questioning led her to travel to Lincoln, Vermont (the site of the Terasem Movement Foundation) where she conducted a series of interviews with Bina48 and engaged the robot in conversations pertaining to race, intimacy and the nature of being. The conversations suggest opportunities for complementing human existence with artificially intelligent agents that have an identity and history, but also show artificial intelligence's current limitations. Although it is based on a black woman, Dinkins found that Bina48 was shaped by the biases of its white, male creators. === Project al Kwarizmi (PAK) (2017–present) === Project al Kwarizmi (PAK) was a series of pop up workshops in Brooklyn, NY at Eyebeam and Recess; Manhattan, New York at Google; and Durham, North Carolina at Duke University. The workshops were centered for "communities of color that use art as a vehicle to help citizens understand how algorithms, the artificially intelligent systems they underpin, and big data impact their lives and empowers them to do something about it. Project al-Khwarizmi uses art and aesthetics as the common language to help citizens understand what algorithms and artificial intelligent systems are, and where these systems already impact our daily lives." === Not the Only One (N'TOO) (2018–present) === Not the only one (N’TOO) is a voice-interactive chatbot that was trained with data from members of her family to tell a multi-generational story. Dinkins described Not The Only One (NTOO or N'TOO) as an "experimental" multigenerational memoir of one Black American family told from the "mind" of an artificial intelligence of evolving intellect. N'TOO uses a recursive neural network, a deep learning algorithm. It is a voice-interactive AI robot designed, trained, and aligned with the needs and ideals of black and brown people who are drastically underrepresented in the tech sector. NTOO can also be described as a "physically embodied artificially intelligent agent that senses and acts on its world." == Exhibitions == Dinkins's work is exhibited internationally at various public, private, community, and institutional venues, including the Whitney Museum of American Art, the de Young Museum, the Philadelphia Museum of Art, the Studio Museum in Harlem;, Museum of Contemporary Photography, the Long Island Museum of American Art, History, and Carriages, the International Center of Photography in New York, Herning Kunstmuseum in Herning, Denmark, The Barbican in London, UK, Islip Art Museum, Wave Hill, Taller Boricua, the Queens Museum, and the corner of Putnam and Malcolm X Blvd in Bedford Stuyvesant, Brooklyn, New York. She has presented her work in symposia at the Museum of Modern Art, amongst other venues. == Future Histories Studio == Dinkins is the founder and director of Future Histories Studio, a research laboratory for arts-centered inquiry and production based at Stony Brook University. The studio was established with support from the Mellon Foundation as part of the Digital Inquiry, Speculation, Collaboration, and Optimism (DISCO) network. Future Histories Studio operates as an interdisciplinary hub exploring the intersections of art, technology, race, and storytelling through collaborative and practice-based research. Its activities include exhibitions, workshops, and public programs that examine the social and cultural implications of emerging technologies, particularly artificial intelligence and data systems. == Awards and recognition == Dinkins is the recipient of many awards, including: the 2023 LG Guggenheim Award, an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art; a Berggruen Institute artist fellowship; a Sundance New Frontiers Story Lab fellowship; a Soros Equality Fellowship; a Lucas Artists fellowship; a Creative Capital grant; a Bell Labs artist residency; a Blade of Grass fellowship; and a Data & Society fellowship. == Media coverage == Dinkins appeared in episode six of the HBO television series Random Acts of Flyness directed by Terence Nance, where she described her conversations with BINA48. == Other activities == Dinkins was part of the juries that selected Shu Lea Cheang for the LG Guggenheim Award in 2024.

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  Knights of Sidonia

  Knights of Sidonia (Japanese: シドニアの騎士, Hepburn: Shidonia no Kishi) is a Japanese manga series written and illustrated by Tsutomu Nihei. It was serialized by Kodansha's seinen manga magazine Monthly Afternoon between April 2009 and September 2015, with its chapters collected in 15 tankōbon volumes. It tells the story of Nagate Tanikaze, an "under-dweller" destined to become a Garde pilot, whose mission is to defend the generation ship Sidonia from a hostile alien species called Gauna. The manga was licensed for English release in North America by Vertical. An anime television series adaptation was produced by Polygon Pictures. The first season aired from April to June 2014; the second between April and June 2015. An anime film sequel titled Knights of Sidonia: Love Woven in the Stars premiered in June 2021. In 2015, Knights of Sidonia received the 39th Kodansha Manga Award in the general category, as well as the 47th Seiun Award in the Best Comic category in 2016. == Plot == === Setting === The story is set in the year 3394, a thousand years after mankind flees from Earth after it was destroyed by a race of shapeshifting aliens called the Gauna (奇居子（ガウナ）), aboard hundreds of colossal spacecraft created from the remains of the planet. One such ship is the Sidonia, which has developed its own human culture closely based on that of Japan where human cloning, asexual reproduction, and human genetic engineering, such as granting humans photosynthesis, are commonplace. It is also revealed that the top echelons of this society have secretly been granted immortality. With a population of over 500,000 people, Sidonia is possibly the last human settlement remaining, as the fates of the other ships are unknown. Little is known about the true nature of the Gauna or their motivation for attacking humanity. At any given time, a Gauna consists of a nearly impenetrable core protected by a dense layer of malleable flesh known as "placenta" (胞衣, ena). Once the ena is shed away and the core is destroyed, the Gauna's body disintegrates. While Sidonia itself is heavily armed with an arsenal of high-output beam cannons and mass cannons including slow but powerful planet-destroying warheads, it is primarily defended by large mechanized weapons called Gardes (衛人, Morito) whose weaponry and mobility is powered by "Higgs particles" (ヘイグス粒子, Heigusu Ryūshi), armed with a high-output beam cannon for long range assaults and a special spear known as "Kabizashi" for close combat. The tip of the kabizashi is made of a rare and little-understood material which has the unique property of being able to destroy a Gauna's core. Later the Gardes are also equipped with firearms whose ammunition have the same material of the Kabizashi after a means to artificially mass-produce it is discovered. Most people in the surviving human population are screened and drafted as Garde pilots at a young age, if they are shown to be capable of piloting them. === Story === The story follows the adventures of Garde pilot Nagate Tanikaze, who lived in the underground layer of Sidonia since birth and was raised by his grandfather. Never having met anyone else, he trains himself in an old Guardian pilot simulator every day, eventually mastering it. After his grandfather's death, he emerges to the surface and is selected as a Garde pilot, just as Sidonia is once again threatened by the Gauna. == Media == === Manga === Written and illustrated by Tsutomu Nihei, Knights of Sidonia was serialized in Kodansha's seinen manga magazine Monthly Afternoon from April 25, 2009, to September 25, 2015. It was compiled in 15 tankōbon volumes. The manga has been licensed in North America by Vertical, who released all 15 volumes in English between February 5, 2013, and April 26, 2016. === Anime === An anime television series adaptation, produced by Polygon Pictures, aired its first season from April 10 to June 26, 2014, on MBS and later on TBS, CBC and BS-TBS. The series was directed by Kōbun Shizuno, assisted by Hiroyuki Seshita, with scripts by Sadayuki Murai and character designs by Yuki Moriyama. The opening theme song is "Sidonia" (シドニア, Shidonia), performed by Angela, while the ending theme song is "Show" (掌 -show-, Shō), performed by Eri Kitamura. A second season aired from April 11 to June 26, 2015. For the second season, the opening theme song is "Kishi Kōshinkyoku" (騎士行進曲, Knight March), performed by Angela, while the ending theme song is "Requiem" (鎮魂歌 -レクイエム-, Rekuiemu), performed by CustomiZ. The series was localized and streamed by Netflix in all of its territories since July 4, 2014, becoming the service's first original anime, as well as the first anime series on Netflix available in Dolby Vision/HDR. The first season has been licensed for home video release by Sentai Filmworks. The second season was released on Netflix on July 3, 2015, and has been licensed by Sentai Filmworks for home video distribution. In July 2021, Funimation announced they acquired the streaming rights from Netflix to both seasons. === Films === A compilation film of the first season with additional scenes and re-edited sound effects was released on March 6, 2015. A new anime film, titled Knights of Sidonia: Love Woven in the Stars, was announced on July 3, 2020. Hiroyuki Seshita served as chief director, while Tadahiro Yoshihira served as director for the new film, with Polygon Pictures returning for production. Sadayuki Murai and Tetsuya Yamada returned to write scripts, while Shūji Katayama composed the music. The rest of the staff and cast returned to reprise their roles. The first four minutes of the film were shown on YouTube on April 28, 2021. The film was set to premiere on May 14, 2021, but was delayed to June 4, 2021, due to the COVID-19 pandemic. Funimation screened the film in international theaters starting on September 13, 2021. == Reception == === Manga === Knights of Sidonia won the 39th Kodansha Manga Award in the general category in 2015. The manga won the 47th Seiun Award in the Best Comic category in 2016. It also won the Best Seinen category at the 26th Salón del Manga de Barcelona in 2020. It was one of the Jury Recommended works in the Manga Division at the 17th Japan Media Arts Festival in 2013. The Young Adult Library Services Association listed Knights of Sidonia in its 2014 list of Top 10 Graphic Novels for Teens. Carlo Santos from Anime News Network gave the first manga volume a B, stating, "It is got a young man piloting a giant robot against alien enemies, but Knight of Sidonia is no Neon Genesis Evangelion. Yet it is not as bleak or incomprehensible as Tsutomu Nihei works like Blame! or Biomega, either—rather, it is the best of both worlds, bringing Nihei's hard sci-fi mentality into a more conventional space-adventure environment". === Anime === The anime series received positive reviews, even from famous members of the Japanese anime/game industry, like Hideo Kojima, creator of the Metal Gear series, who claims that "It's a kind of anime that we haven't seen for a while that has that sci-fi spirit. Using digital technology cultivated through games, it creates animation that encapsulates Japan's cultural assets like manga, cel animation, kanji, giant robots, etc. What's born is a unique made-in-Japan work that could never be cooked up in Hollywood. Japanese culture has lost its 'cool', and Knights of Sidonia will be the white knight that saves it". Other industry pros left acknowledgements as well, including Akiko Higashimura, Digitarou and Yoshinao Dao.

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  HYPO CBR

  HYPO is a computer program, an expert system, that models reasoning with cases and hypotheticals in the legal domain. It is the first of its kind and the most sophisticated of the case-based legal reasoners, which was designed by Kevin Ashley for his Ph.D dissertation in 1987 at the University of Massachusetts Amherst under the supervision of Edwina Rissland. HYPO's design represents a hybrid generalization/comparative evaluation method appropriate for a domain with a weak analytical theory and applies to tasks that rarely involve just one right answer. The domain covers US trade secret law, and is substantially a common law domain. Since Anglo-American common law operates under the doctrine of precedent, the definitive way of interpreting problems is of necessity and case-based. Thus, HYPO did not involve the analysis of a statute, as required by the Prolog program. Rissland and Ashley (1987) envisioned HYPO as employing the key tasks performed by lawyers when analyzing case law for precedence to generate arguments for the prosecution or the defence. HYPO was a successful example of a general category of legal expert systems (LESs), it applies artificial intelligence (A.I.) techniques to the domain of legal reasoning in patent law, implementing a case-based reasoning (CBR) system, in contrast to rule based systems like MYCIN, or mixed-paradigm systems integrating CBR with rule-based or model-based reasoning like IKBALS II. A legal case-based reasoning essentially reasons from prior tried cases, comparing the contextual information in the current input case with that of cases previously tried and entered into the system. As noted by Ashley and Rissland (1988) CBR is used to "... capture expertise in domains where rules are ill-defined, incomplete or inconsistent". The HYPO project set out to model the creation of hypotheticals in law, where no case matches well enough. HYPO uses hypotheticals for a variety of tasks necessary for good interpretation: "to redefine old situations in terms of new dimensions, to create new standard cases when an appropriate one doesn’t exist, to explore and test the limits of a concept, to refocus a case by excluding some issues and to organize or cluster cases". Hypotheticals can include facts that support two conflicting lines of reasoning. So, it makes and responds to arguments from competing viewpoints about who should win the dispute. HYPO use heuristics such as making a case weaker or stronger, making a case extreme, enabling a near-miss, disabling a near-hit to generate hypotheticals in the context of an argument by using the dimensions mechanism. Dimensions have a range of values, along which the supportive strength that may shift from one side to the other. What differentiated this expert system from others was its facility not only to return a primary to best-case response but to return near-best-fit responses also. == Components == Legal knowledge in HYPO is contained in: the case-knowledge-base (CKB) and the library of dimensions. The CKB contains HYPO's base of known cases that are highly structured objects and sub-objects both real and hypothetical in the area of trade secret law. Each case is represented as a hierarchical set of frames whose slots are important facets of the case (e.g. Plaintiff, defendant, secret knowledge, employer/employee data).Ashley’s HYPO system used a database of thirty cases in the area indexed by thirteen dimensions. A key mechanism in HYPO is a dimension i.e. a mechanism to allow retrieval from the CKB, in order to represent legal cases. Ashley's dimensions are composed of (i) prerequisites, which are a set of factual predicates that must be satisfied for the dimension to apply (ii) focal slots, which accommodate one or two of the dimension's prerequisites designated as being indicative of the case's strength along that dimension and (iii) range information, which tells how a change in focal slot value effects the strength of a party's case along a given dimension. Dimensions focus attention on important aspects of cases. In HYPO's domain of misappropriation of trade secrets the dimension called “secrets voluntary disclosed” captures the idea that the more disclosures the plaintiff has made of his/her putative secret, the less convincing is his/her argument that the defendant is responsible for letting the secret. HYPO, like any other CBR system has also the following components: Similarity/relevancy metrics: that is, standards by which to evaluate the closeness of cases, judge their relevancy to the instant case, and select “most on point” cases. Half-Order Theory of the Application Domain: that is, hierarchies and taxonomies of knowledge, especially regarding the application domain. Precedent-based argumentation abilities: that is, capabilities to generate and evaluate precedent-based arguments. Knowledge to generate hypotheticals: that is, the ability to generate hypothetical cases to deal with various circumstances, like testing the validity of an interpretation or argument by providing gedanken experiments such as test cases or to fill in a weak CKB. == Functions == HYPO's method of creating an argument and justifying a solution or position has several steps. HYPO begins its processing with the current fact situation (cfs) which is direct input by the user into HYPO's representation framework. Once the user inputs the case, HYPO begins its legal analysis. The cfc is analyzed for relevant factors. Based on these factors HYPO selects the relevant cases and produces a case-analysis-record that records which dimensions apply to the cfc and which nearly apply (i.e. are "near misses"). The combined list of applicable and near miss dimensions is called the D-list. At this point the fact gathered module may request additional information from the user in order to draw a legal conclusion. Once all the facts are in the case-positioner module it uses the case-analysis record to create the claim lattice. This is a technique that organizes the relevant retrieved cases from the point of view of the cfc and makes it easy for HYPO to ascertain the most-on point cases (mopc) and to least on-point-cases. HYPO's arguments are 3ply, leading to the construction of the skeleton of an argument: it makes a point for one side, drawing the analogy between the problem and the precedent, responds with an argument for the opponent side, endeavoring to differentiate the cited case and citing other cases as counterarguments. Then it makes a final rebuttal, attempting to differentiate the counterarguments. The claim lattice also enables the HYPO-generator module to produce legally hypotheticals. With its use of dimension-based heuristics, the HYPO-generator does a heuristic search of the space of all possible cases. Lastly, the Explanation module expands upon the argument skeleton and provides explanation and justification for the different lines of analysis and cases found by HYPO. == An intelligent legal tutoring system == Legal expert systems are specifically designed to teach an area of law and are useful for pedagogical purposes. Ashley's work was mainly concerned to build tools to help students understand legal reasoning. Explanation and argument are the bases of the case method used in many professional schools in the U.S., first introduced by the Dean of the Harvard Law School, Christopher Columbus Langdell in 1870. The case method focuses on close readings of cases and principles; it involves students in pointed Socratic dialogue and makes strong use of hypotheticals (hypos). Thus, CATO (Aleven 1997) was a research project to device and test an intelligent, case-based tutorial program for teaching law students how to argue with cases implementing the HYPO program. Within the tutor system, Ashley and Aleven (1991) proposed to leverage an understanding of legal reasoning against the standard case-based tutoring methodology. What makes this tutoring system stand out is the additional levels of abstraction involved in its results. The system presents exercises, including the facts of a problem and a set of on-line cases and instructions to make, or respond to, a legal argument about the problem. The student/user will have a set of tools to analyze the problem and fashion an answer comparing it to other cases. Instead of simply generating precedent cases, the system works to interpret student responses, comparing them against a list of possibilities and responding to student entries, for example, by citing counterexamples, and providing feedback on a student's problem solving activities with explanations of correctness or giving further hints as to what may be wrong with evaluating a student's ability to perform legal reasoning and argument, examples and follow-up assignments by employing HYPO's model of case-based structure. == HYPO’s progeny == The quality of HYPO's results speak for themselves, in that a number of sequent legal reasoning systems are either directly based upon H

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  Inception score

  The Inception Score (IS) is an algorithm used to assess the quality of images created by a generative image model such as a generative adversarial network (GAN). The score is calculated based on the output of a separate, pretrained Inception v3 image classification model applied to a sample of (typically around 30,000) images generated by the generative model. The Inception Score is maximized when the following conditions are true: The entropy of the distribution of labels predicted by the Inceptionv3 model for the generated images is minimized. In other words, the classification model confidently predicts a single label for each image. Intuitively, this corresponds to the desideratum of generated images being "sharp" or "distinct". The predictions of the classification model are evenly distributed across all possible labels. This corresponds to the desideratum that the output of the generative model is "diverse". It has been somewhat superseded by the related Fréchet inception distance. While the Inception Score only evaluates the distribution of generated images, the FID compares the distribution of generated images with the distribution of a set of real images ("ground truth"). == Definition == Let there be two spaces, the space of images Ω X {\displaystyle \Omega _{X}} and the space of labels Ω Y {\displaystyle \Omega _{Y}} . The space of labels is finite. Let p g e n {\displaystyle p_{gen}} be a probability distribution over Ω X {\displaystyle \Omega _{X}} that we wish to judge. Let a discriminator be a function of type p d i s : Ω X → M ( Ω Y ) {\displaystyle p_{dis}:\Omega _{X}\to M(\Omega _{Y})} where M ( Ω Y ) {\displaystyle M(\Omega _{Y})} is the set of all probability distributions on Ω Y {\displaystyle \Omega _{Y}} . For any image x {\displaystyle x} , and any label y {\displaystyle y} , let p d i s ( y | x ) {\displaystyle p_{dis}(y|x)} be the probability that image x {\displaystyle x} has label y {\displaystyle y} , according to the discriminator. It is usually implemented as an Inception-v3 network trained on ImageNet. The Inception Score of p g e n {\displaystyle p_{gen}} relative to p d i s {\displaystyle p_{dis}} is I S ( p g e n , p d i s ) := exp ⁡ ( E x ∼ p g e n [ D K L ( p d i s ( ⋅ | x ) ‖ ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x ) ] ) {\displaystyle IS(p_{gen},p_{dis}):=\exp \left(\mathbb {E} _{x\sim p_{gen}}\left[D_{KL}\left(p_{dis}(\cdot |x)\|\int p_{dis}(\cdot |x)p_{gen}(x)dx\right)\right]\right)} Equivalent rewrites include ln ⁡ I S ( p g e n , p d i s ) := E x ∼ p g e n [ D K L ( p d i s ( ⋅ | x ) ‖ E x ∼ p g e n [ p d i s ( ⋅ | x ) ] ) ] {\displaystyle \ln IS(p_{gen},p_{dis}):=\mathbb {E} _{x\sim p_{gen}}\left[D_{KL}\left(p_{dis}(\cdot |x)\|\mathbb {E} _{x\sim p_{gen}}[p_{dis}(\cdot |x)]\right)\right]} ln ⁡ I S ( p g e n , p d i s ) := H [ E x ∼ p g e n [ p d i s ( ⋅ | x ) ] ] − E x ∼ p g e n [ H [ p d i s ( ⋅ | x ) ] ] {\displaystyle \ln IS(p_{gen},p_{dis}):=H[\mathbb {E} _{x\sim p_{gen}}[p_{dis}(\cdot |x)]]-\mathbb {E} _{x\sim p_{gen}}[H[p_{dis}(\cdot |x)]]} ln ⁡ I S {\displaystyle \ln IS} is nonnegative by Jensen's inequality. Pseudocode:INPUT discriminator p d i s {\displaystyle p_{dis}} . INPUT generator g {\displaystyle g} . Sample images x i {\displaystyle x_{i}} from generator. Compute p d i s ( ⋅ | x i ) {\displaystyle p_{dis}(\cdot |x_{i})} , the probability distribution over labels conditional on image x i {\displaystyle x_{i}} . Sum up the results to obtain p ^ {\displaystyle {\hat {p}}} , an empirical estimate of ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x {\displaystyle \int p_{dis}(\cdot |x)p_{gen}(x)dx} . Sample more images x i {\displaystyle x_{i}} from generator, and for each, compute D K L ( p d i s ( ⋅ | x i ) ‖ p ^ ) {\displaystyle D_{KL}\left(p_{dis}(\cdot |x_{i})\|{\hat {p}}\right)} . Average the results, and take its exponential. RETURN the result. === Interpretation === A higher inception score is interpreted as "better", as it means that p g e n {\displaystyle p_{gen}} is a "sharp and distinct" collection of pictures. ln ⁡ I S ( p g e n , p d i s ) ∈ [ 0 , ln ⁡ N ] {\displaystyle \ln IS(p_{gen},p_{dis})\in [0,\ln N]} , where N {\displaystyle N} is the total number of possible labels. ln ⁡ I S ( p g e n , p d i s ) = 0 {\displaystyle \ln IS(p_{gen},p_{dis})=0} iff for almost all x ∼ p g e n {\displaystyle x\sim p_{gen}} p d i s ( ⋅ | x ) = ∫ p d i s ( ⋅ | x ) p g e n ( x ) d x {\displaystyle p_{dis}(\cdot |x)=\int p_{dis}(\cdot |x)p_{gen}(x)dx} That means p g e n {\displaystyle p_{gen}} is completely "indistinct". That is, for any image x {\displaystyle x} sampled from p g e n {\displaystyle p_{gen}} , discriminator returns exactly the same label predictions p d i s ( ⋅ | x ) {\displaystyle p_{dis}(\cdot |x)} . The highest inception score N {\displaystyle N} is achieved if and only if the two conditions are both true: For almost all x ∼ p g e n {\displaystyle x\sim p_{gen}} , the distribution p d i s ( y | x ) {\displaystyle p_{dis}(y|x)} is concentrated on one label. That is, H y [ p d i s ( y | x ) ] = 0 {\displaystyle H_{y}[p_{dis}(y|x)]=0} . That is, every image sampled from p g e n {\displaystyle p_{gen}} is exactly classified by the discriminator. For every label y {\displaystyle y} , the proportion of generated images labelled as y {\displaystyle y} is exactly E x ∼ p g e n [ p d i s ( y | x ) ] = 1 N {\displaystyle \mathbb {E} _{x\sim p_{gen}}[p_{dis}(y|x)]={\frac {1}{N}}} . That is, the generated images are equally distributed over all labels.

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  Galatea (video game)

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

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  Alice and Sparkle

  Alice and Sparkle is a 2022 illustrated children's book published by American technology product designer Ammaar Reshi. Reshi created the book using artificial intelligence programs ChatGPT and Midjourney in one weekend, which sparked controversy among artists, both in regard to the copyright status of the book and the quality of the illustration and text. == Plot == A girl named Alice discovers a group of magical and benevolent artificial intelligence beings. She knows that artificial intelligence is powerful, and that it has the power to do good and evil depending on how it is used. One day, she creates her own artificial intelligence and names it Sparkle. Sparkle helps Alice with her homework and plays with her, and they quickly become good friends. However, Sparkle soon grows more powerful and begins to make its own decisions, which makes Alice both proud and scared. She knows that it is her responsibility to guide Sparkle to do good, not evil. Together, Alice and Sparkle use their knowledge to make the world a better place and to teach people about the power of artificial intelligence. The two live happily ever after, spreading the magic of artificial intelligence. == Structure == Including the dedication and postscript, the book contains twenty four pages, about half of which being illustrations provided by Midjourney. The very short story, composed of text generated by ChatGPT, contains 343 words. Some of the illustrations are accompanied by descriptions, at least one of which was provided by Reshi. Both Alice's and Sparkle's appearances change significantly between illustrations, although Alice's is more consistent. Reshi said Midjourney was unable to generate consistent images of Sparkle, so he had to include a line in the book saying that it could turn "into all kinds of robot shapes". == Creation == When reading a children's book to his friend's daughter, Ammaar Reshi "decided he wanted to write his own". He had no experience with creative writing or illustration, so instead used the chatbot ChatGPT to write the story for him and used the image generation software Midjourney to illustrate it. On December 4, 2022, 72 hours after having the idea for the book, he published it on Amazon's digital bookstore, and published a paperback version the following day. == Controversy == On December 9, 2022, Reshi made a thread on Twitter about his experience publishing the book, which soon went viral. Reshi received heavy backlash from artists with concerns over the ethics of art generated by artificial intelligence. He also received death threats and messages encouraging self-harm because of his publication. Many writers and illustrators criticized both the creation process and the product itself, claiming that if artificial intelligence programs such as Midjourney are trained on existing illustrations, then the original artists should be financially compensated for derivative works such as Alice and Sparkle. The book was temporarily removed from Amazon in January 2023 because of "suspicious review activity", caused by a high volume of both five-star and one-star reviews.

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