AI Code Breaker

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Clips (software)

Clips is a discontinued mobile video editing software application created by Apple Inc. It was released onto the iOS App Store on April 6, 2017, for free. Initially, it was only available on 64-bit devices running iOS 10.3 or later; as of version 3.1.3, it requires iOS 16.0 or later. Apple describes it as an app for "making and sharing fun videos with text, effects, graphics, and more.". Its final release was on May 9, 2024 before was removed from the App Store on October 10, 2025. == Features == After launching of the app, the user sees the view of the front-facing camera. The app allows the user to create a new clip by tapping on a red record button, or use photos or videos from the device's photo library. Once a clip is recorded, it can be added to a project timeline shown at the bottom of the screen. The user can share their project on social media platforms. The user can also add filters and effects to the project. "Live Titles" (available in several styles) can also be created by dictating to the device.
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Cooperative coevolution

Cooperative Coevolution (CC) in the field of biological evolution is an evolutionary computation method. It divides a large problem into subcomponents, and solves them independently in order to solve the large problem. The subcomponents are also called species. The subcomponents are implemented as subpopulations and the only interaction between subpopulations is in the cooperative evaluation of each individual of the subpopulations. The general CC framework is nature inspired where the individuals of a particular group of species mate amongst themselves, however, mating in between different species is not feasible. The cooperative evaluation of each individual in a subpopulation is done by concatenating the current individual with the best individuals from the rest of the subpopulations as described by M. Potter. The cooperative coevolution framework has been applied to real world problems such as pedestrian detection systems, large-scale function optimization and neural network training. It has also be further extended into another method, called Constructive cooperative coevolution. == Pseudocode == i := 0 for each subproblem S do Initialise a subpopulation Pop0(S) calculate fitness of each member in Pop0(S) while termination criteria not satisfied do i := i + 1 for each subproblem S do select Popi(S) from Popi-1(S) apply genetic operators to Popi(S) calculate fitness of each member in Popi(S)
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Anna Ridler

Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)
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We Appreciate Power

"We Appreciate Power" is a song by Canadian musician Grimes, featuring American musician Hana. It was released on November 29, 2018, billed as the lead single from her fifth studio album Miss Anthropocene, however it is only available on the Japanese and deluxe releases. The song was written and produced by Grimes, Poppy (originally), Hana and Chris Greatti. == Background and release == The song was supposed to be one of two collaborations between Grimes and American singer Poppy, for the latter's second studio album Am I a Girl?. In an interview, Poppy mentioned that she wrote two songs with Grimes; one about "destroying things" and another about "power". The other song, "Play Destroy", was featured on the album. Grimes shared a lyric of the song with a photo of her with Poppy on Twitter in May 2018. Following feuds between the two singers, the song was released by Grimes featuring singer Hana instead. On November 26, Grimes announced she would be releasing new music on November 29. Two days later, she revealed that the single is titled "We Appreciate Power" and features Hana, and shared the artwork. The release of the song was accompanied by a lyric video directed by Grimes and her brother Mac Boucher. == Music and lyrics == "We Appreciate Power" is an industrial rock, nu metal, and techno-industrial song. The track is regarded as a further step into Grimes's experimentation with guitars that started on 2015's Art Angels. The track was compared to the works of Nine Inch Nails; Jillian Mapes of Pitchfork described the song as "an immediate onslaught of mutilated noise—distorted metal guitar chug, bloody screams, a guitar loop that conjures fear and demands worship. Flashes of Nine Inch Nails' Pretty Hate Machine reverberate through the drum programming and synths." Brendan Klinkenberg of Rolling Stone placed the song "somewhere between power pop and straightforward industrial (with an extended bridge reminiscent of the most sweeping moments in a Final Fantasy score)" and "a distinctly 2018 take on Nine Inch Nails-esque hard-edged rock." A press release stated that the song was inspired by the North Korean band Moranbong and was written "from the perspective of a Pro-A.I. Girl Group Propaganda machine who use song, dance, sex and fashion to spread goodwill towards Artificial Intelligence." In addition Grimes stated that by simply listening to the song you will be reducing your risk of ending up on any future AI overlord's hit list when it reigns supreme, mirroring the Roko's basilisk theory. Lyrically, the song touches on transhumanist ideas such as the betterment and future of the human race, the possibilities of merging consciousness with machines to extend life indefinitely through mind uploading, and the idea that reality may be simulated. The song's chorus generated a spike in interest in the word "capitulate". == Critical reception == Pitchfork critic Jillian Mapes wrote: "If "Freak on a Leash" isn't a dealbreaker, then the supervillain allure of "We Appreciate Power" might pull you in (it legitimately slaps), but it just as well may leave you weighed down by Grimes' commitment to the absolute darkest timeline." Billboard's Gil Kaufman described the song as "a dystopian, aggressive dive into a more rock-leaning sound." Similarly, Brendan Klinkenberg of Rolling Stone called it "the most aggressive single Grimes has released to date" Noisey called the song "an absolute motherfucker of a single" and opined it sounds "like a K-pop band covering nu-metal". Justin Kamp of Paste described the track as a "glitchy empowerment anthem that chugs along on screeching synths and Grimes' repeated exultations of power." == Personnel == Credits adapted from Tidal. Grimes – vocals, guitar, production, engineering Hana – vocals, guitar, additional production Chris Greatti – guitar, keyboards, production, engineering Zakk Cervini – mixing == Track listing == == Charts ==
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Once (dating platform)

Once is an online dating platform founded in 2015. The platform offers users one selected match per day for more meaningful connections. == History == Once was established in 2015, the founders included dating industry entrepreneur Jean Meyer, who became a CEO of the company, as well as Guillaume Sempe and Guilhem Duche. It focused on providing a single daily match to its users. On its early stages Once secured a $3.5 million seed round from Partech Ventures and some private investors. The same year, it opened offices in Paris, and London. By 2016, it reached 1 million users. In 2020, the company was acquired by Dating Group for $18 million. Following the acquisition, Once underwent rebranding. Alexandra Beaumont took over leadership of the brand in 2021, driving growth, rebranding, and innovation. == Overview == Once provides an online dating service with a focus on thoughtful connections. Users receive one selected match per day, which encourages meaningful interactions. The platform operates primarily in the United States, the United Kingdom, Canada, France, and Spain. The platform is supported by Android, iOS, and Apple Watch OS.
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Course of Action Display and Evaluation Tool

Course of Action Display and Evaluation Tool (CADET) was a research program, and the eponymous prototype software system, that applied knowledge-based techniques of Artificial Intelligence to the problem of battle planning. CADET was also known as Course of Action Display and Elaboration Tool. It was considered an early example of such systems and was funded by the United States Army and by the Defense Advanced Research Projects Agency (DARPA). CADET influenced a later DARPA program called RAID which in turn produced a technology adopted by the United States Army and the United States Marine Corps. == History == The development of Course of Action Display and Evaluation Tool (CADET) began in 1996, at the Carnegie Group, Inc., Pittsburgh PA, funded under the Small Business Innovation Research (SBIR) program. The goal of the first phase SBIR project was to produce “...a live storyboard of [Course of Action] COA development, wargaming, animation, and assessment.” In 1997, the United States Army awarded the Carnegie Group Inc. $750K for SBIR Phase II. The intent was to develop “...a war-gaming modeling and analysis Decision Support System (DSS), … CADET will consist of a combination of Knowledge-Based and decision analytic tools and technologies to provide fast nimble COA war-gaming modeling, simulation, and animation under direct control of the commander and staff. ...Phase II will result in an operations prototype (OP) suitable for use and evaluation in field exercises.” In 2000, CADET was integrated and experimentally evaluated within the framework of the Integrated Course of Action Critiquing and Elaboration System (ICCES) experiment, conducted by the Battle Command Battle Laboratory – Leavenworth (BCBL-L) within the program Concept Experimentation Program (CEP) sponsored by TRADOC. In 2000-2002, DARPA applied CADET in the program titled Command Post of the Future (CPoF) as a tool to generate a course of action. Under the umbrella of the CPoF program, CADET was integrated with the FOX GA system to provide a detailed planner, coupled with COA generation capability. In the same period, Battle Command Battle Lab-Huachuca (BCBL-H) performed an integration CADET with the system called All Source Analysis System-Light (ASAS-L); here CADET was intended to generate plans for intelligence assets, and conduct wargames of different COAs, enemy versus friendly. From 1996 through 2002, work on CADET was performed by the Carnegie Group, Inc., and supported by funding from the US Army CECOM (CADET SBIR Phase I, CADET SBIR Phase II and CADET Enhancements); DARPA (Command Post of the Future); and TRADOC BCBL-H. == Operation == CADET was intended to be used by the staff of the United States Army Brigade, within the Military Decision Making Process (MDMP). In particular, CADET helped produce, automatically or semi-automatically, the products generated within the step of MDMP called Course of Action (COA) Development and the following step of MDMP called COA Analysis and Wargaming. CADET software resided on a laptop computer. Using the computer, the staff officers entered the input to CADET, or alternatively this input arrived at CADET from upstream computer systems. The input consisted of: Order of Battle, i.e., the units constituting the friendly brigade and the enemy units participating in the battle, and their various characteristics; primary activities of the Course of Action, where each activity is typically linked to one or more geographic areas or a route, and sometimes to a major unit executing the activity; digital map of the region where the battle was to take place, including the digital description of significant features such as locations of friendly and enemy units, roads, assembly areas, objectives, and axes of attacks. Taking this input, CADET automatically performed the following tasks (not sequentially): Planning and scheduling the low-level tasks necessary for a given COA Allocating tasks to various units and assets constituting the brigade Assigning suitable locations and routes Estimating the battle losses (attrition) of friendly and enemy forces, and consumption of resources (e.g., fuel and ammunition) Predicting enemy actions or reactions. CADET produced the following outputs: Synchronization matrix, directly editable and printable; synchronization matrix is a kind of Gantt chart that shows assignments of activities to units, to locations/routes and to time periods Map overlays in PPT or JPG formats Animation output XML formally-encoded plan Textual Operation Plan (OPLAN) draft E-mail messages with attachments: XML and text versions of OPLAN == Design == The core algorithm is a planning algorithm where CADET uses a knowledge-based approach of the hierarchical-task-network type. Each task class is associated with a model of more detailed subtasks that should be performed in order to accomplish the higher-level task. Algorithms selected (heuristically) a task and then decomposes it into subtasks. Although similar to hierarchical-task-network planning algorithm, CADET’s algorithm includes elements of adversarial reasoning. After adding a subtask, the algorithm uses rules to determine the enemy’s probable actions and reactions as well as friendly counteractions This approximated the action-reaction-counteraction technique of manual wargaming used by the United States Army. When a task involves movements of a unit, the algorithm performs routing, i.e., finds a route for the movement that minimizes the time required for the movement as well as exposure to the enemy attacks. Each added tasks (subtask) normally requires a unit which would execute the task, and a time period when the task would be executed. Therefore, when a certain number of subtasks is added by the planning process, the algorithm also performs the allocation of the newly added subtasks to units and to time periods (i.e., scheduling). allocation and scheduling of tasks relies on both domain-specific and constraint-guided heuristics. A tasks may also require expenditures of fuel and ammunition. If the tasks involves engagement with the enemy, the performing units will experience lossesof personnel and weapon systems (attrition). CADET’s algorithm includes estimates of consumption of different types of consumables, and also attrition. Depending on the degree of attrition and consumption, CADET adds tasks that are needed to refuel or reconstitute the units. The algorithm continually interleaves incremental steps of planning, routing, scheduling, and attrition and consumption estimates. == Evaluation == Two evaluation experiments are described in literature. The first experiment called ICCES took three days. The subjects were Army officers from combat arms branches, with 11 to 23 years of active service, in the ranks of majors and lieutenant colonels, a total of 8. Each officer was given 4 hours of training learning to operate CADET and related computer tools. Officers were divided into two groups and given a tactical scenario. One group (the control group) used the traditional, manual process; the other used the system called ICCES, the automated core of which was CADET. Each group produced three COA sketches and statements and one COA synchronization matrix. Then, the experiment was repeated with another scenario but the control group became the automated group and vice versa. The users were generally satisfied with the quality of the ICCES-generated products. The group using ICCES made only a few changes to the product that was automatically generated, indicating that they agreed with the majority of the plan that ICCES produced. The second experiment was reminiscent of Turing test. The experiment involved one user, nine judges (active-duty officers, mainly colonels and lieutenant colonels), and five scenarios obtained from several US Army exercises. For each scenario, experimenters obtained synchronization matrices that were produced in earlier exercises, typically by a team of four to five officers in three to four hours, spending approximately 16 person-hours in total. Using these scenarios and COAs, the user had CADET generate automatically detailed plans and express them as synchronization matrices. The user, a retired US Army officer, reviewed and slightly edited the matrices. The entire process took less than two minutes of computations by and approximately 20 minutes of review and post-editing, approximately 0.4 person-hour in total per product. The experimenters gave the resulting matrices the same visual style as those produced by humans. The judges, who did not know whether a planning product was a traditional product of humans, or with computerized aids, were asked to grade the products. The result was that the average grades for manual products and CADET-generated products were statistically indistinguishable, even though CADET-generated products required far less time to produce. == Legacy == CADET served as “...an example of how even relatively basic A
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The Raimones

The Raimones (stylized as THE RAiMONES) is a 2017 generative music project that utilized artificial intelligence to compose music in the style of the American punk rock band The Ramones. Developed by Matthias Frey, a researcher at Sony CSL Tokyo, the project was an early experiment in applying deep learning to high-energy, minimalist musical genres. == Technical Development == The project utilized Long short-term memory (LSTM) recurrent neural networks to generate musical structures and lyrics. The model was trained on a dataset consisting of 130 Ramones songs in MIDI format and the band's complete lyrical catalog. The technical framework was built using Python and Jupyter Notebook, drawing influence from the character-level RNN text generation models popularized by Andrej Karpathy. Unlike contemporary AI music projects that focused on the harmonic complexities of classical or pop music, THE RAiMONES sought to determine if neural networks could replicate the "1-2-3-4" rhythmic consistency and formulaic nature of early punk. == "I'm Alive" == The primary output of the project was the song "I'm Alive," released in 2017. The work is described as a form of "augmented intelligence," a hybrid approach where the AI provides the compositional foundation and human musicians handle the arrangement and performance. The song was recorded by the musician Mr. Ratboy (Gilbert Avondet). Avondet's involvement provided a stylistic link to the subject material, as he had previously served as a touring guitarist for Marky Ramone and the Intruders in 1996. The project's discography has since been made available on major streaming platforms, including Apple Music. == Reception and Significance == The project has been cited as a "proof of concept" for AI's ability to tackle "noisy" and aggressive aesthetics. In 2019, the Belgian magazine Knack Focus profiled the project alongside other AI pioneers such as Holly Herndon, noting the project's attempt to recreate the sound of "deceased legends" while maintaining a distinct, machine-like quality. It has also been featured in academic settings, such as at UC Santa Cruz, as a case study for AI-driven genre mimicry.
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A.I.s

A.I.s is a themed anthology of science fiction short works edited by American writers Jack Dann and Gardner Dozois. It was first published in paperback by Ace Books in December 2004. It was reissued as an ebook by Baen Books in June 2013. The book collects ten novelettes and short stories by various science fiction authors, together with a preface by the editors. == Contents == "Preface" (Jack Dann and Gardner Dozois) "Antibodies" (Charles Stross) "Trojan Horse" (Michael Swanwick) "Birth Day" (Robert Reed) "The Hydrogen Wall" (Gregory Benford) "The Turing Test" (Chris Beckett) "Dante Dreams" (Stephen Baxter) "The Names of All the Spirits" (J. R. Dunn) "From the Corner of My Eye" (Alexander Glass) "Halfjack" (Roger Zelazny) "Computer Virus" (Nancy Kress)
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Personoid

Personoid is the concept coined by Stanisław Lem, a Polish science-fiction writer, in Non Serviam, from his book A Perfect Vacuum (1971). His personoids are an abstraction of functions of human mind and they live in computers; they do not need any human-like physical body. In cognitive and software modeling, personoid is a research approach to the development of intelligent autonomous agents. In frame of the IPK (Information, Preferences, Knowledge) architecture, it is a framework of abstract intelligent agent with a cognitive and structural intelligence. It can be seen as an essence of high intelligent entities. From the philosophical and systemics perspectives, personoid societies can also be seen as the carriers of a culture. According to N. Gessler, the personoids study can be a base for the research on artificial culture and culture evolution. == Personoids on TV and cinema == Welt am Draht (1973) The Thirteenth Floor (1999)
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CADE ATP System Competition

The CADE ATP System Competition (CASC) is an annual competition of fully automated theorem provers for classical logic. == Competition == CASC is associated with the Conference on Automated Deduction and the International Joint Conference on Automated Reasoning organized by the Association for Automated Reasoning. It has inspired similar competition in related fields, in particular the successful SMT-COMP competition for satisfiability modulo theories, the SAT Competition for propositional reasoners, and the modal logic reasoning competition. The first CASC, CASC-13, was held as part of the 13th Conference on Automated Deduction at Rutgers University, New Brunswick, NJ, in 1996. Among the systems competing were Otter and SETHEO.
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Fuzzy architectural spatial analysis

Fuzzy architectural spatial analysis (FASA) (also fuzzy inference system (FIS) based architectural space analysis or fuzzy spatial analysis) is a spatial analysis method of analysing the spatial formation and architectural space intensity within any architectural organization. Fuzzy architectural spatial analysis is used in architecture, interior design, urban planning and similar spatial design fields. == Overview == Fuzzy architectural spatial analysis was developed by Burcin Cem Arabacioglu (2010) from the architectural theories of space syntax and visibility graph analysis, and is applied with the help of a fuzzy system with a Mamdani inference system based on fuzzy logic within any architectural space. Fuzzy architectural spatial analysis model analyses the space by considering the perceivable architectural element by their boundary and stress characteristics and intensity properties. The method is capable of taking all sensorial factors into account during analyses in conformably with the perception process of architectural space which is a multi-sensorial act.
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Gundam Build Metaverse

Gundam Build Metaverse (Japanese: ガンダムビルドメタバース, Hepburn: Gandamu Birudo Metabāzu) is a Japanese original net animation anime mini-series produced by Sunrise Beyond, and the fifth series within the Gundam Build Series sub-series. The series celebrates the 10th anniversary of the Gundam Build franchise, including characters from the previous installments. == Plot == The story is set in the same universe of the Gundam Build series in an online metaverse space where users can use avatars to move around and interact with other users, including conducting Gunpla (Gundam plastic model) battles with them. The story centers on Rio Hōjō, a boy who lives in Hawaii, and who learns how to build Gunpla from a local hobbyist named Seria Urutsuki. In the metaverse, a figure known as Mask Lady teaches him the art of Gunpla battling, and he strives to get better at it every day. With his custom Lah Gundam, he seeks out ever stronger opponents. == Characters == === Main characters === Rio Hojo (ホウジョウ・リオ, Hōjō Rio) Voiced by: Chika Anzai A young boy from Hawaii who is an enthusiast of Gunpla Battle and is an apprentice of the mysterious Diver "Mask Lady". Rio's Gunpla is the Lah Gundam, modeled after an entry-grade RX-78-2 Gundam, from the original Mobile Suit Gundam anime series. Seria Urutsuki (ウルツキ・セリア, Urutsuki Seria) / Mask Lady (マスクレディー, Masuku Reidi) Voiced by: Rio Tsuchiya A clerk at a local hobby shop and the instructor at their Gunpla class, Seria becomes Rio's Gunpla mentor using the alias "Mask Lady". Seria's Gunpla is the ZGMF-X20A-PF Gundam Perfect Strike Freedom Rouge, based on both the MBF-02 Strike Rouge and the GAT-X105+AQM/E-YM1 Perfect Strike Gundam from Mobile Suit Gundam Seed and the ZGMF-X20A Strike Freedom Gundam from Mobile Suit Gundam Seed Destiny. === Returning characters === Fumina Hoshino (ホシノ・フミナ, Hoshino Fumina) Voiced by: Yui Makino A veteran Gunpla Battler from the early days of the sport and the Leader of "Team Try Fighters", she works as an advertiser and announcer within the Metaverse realm. Tatsuya Yuuki (ユウキ・タツヤ, Yūki Tatsuya) / Meijin Kawaguchi III (三代目メイジン・カワグチ, Sandaime Meijin Kawaguchi) Voiced by: Takuya Satō A builder and three-times Gunpla Battle world champion who inherited the name of the legendary Meijin Kawaguchi, known as "Meijin Kawaguchi III", and still the current title holder. His newest Gunpla is the Gundam Amazing Barbatos Lupus based on the ASW-G-08 Gundam Barbatos Lupus from Mobile Suit Gundam: Iron-Blooded Orphans. Riku Mikami (ミカミ・リク, Mikami Riku) / Riku (リク) Voiced by: Yūsuke Kobayashi The Founder and former leader of the legendary force, "Build Divers". His Gunpla is the Gundam 00 Diver Arc, the latest version of the original GN-0000DVR Gundam 00 Diver from Gundam Build Divers, incorporating elements from the 00 Gundam from Mobile Suit Gundam 00 and the Gundam AGE-FX from Mobile Suit Gundam AGE. Sarah (サラ, Sara) Voiced by: Haruka Terui An EL-Diver and member of the Build Divers. Momoka Yashiro (ヤシロ・モモカ, Yashiro Momoka) / Momo (モモ) Voiced by: Nene Hieda Member of Build Divers. Her gunpla is the MOMOKAPOOL (R×R), an upgraded version of her PEN-01M Momokapool from Gundam Build Divers Aya Fujisawa (フジサワ・アヤ, Fujisawa Aya) / Ayame (アヤメ) Voiced by: Manami Numakura Member of Build Divers. Her Gunpla is the F-Kunoichi Kai, an SD Gunpla based on the F91 Gundam F91 from Mobile Suit Gundam F91. Sei Iori (イオリ・セイ, Iori Sei) Voiced by: Mikako Komatsu A builder and one time Gunpla Battle World Champion. His current Gunpla is the GAT-X105B/EG Build Strike Exceed Galaxy, the latest version of the original GAT-X105B Build Strike Gundam from Gundam Build Fighters. Aria von Reiji Asuna (アリーア・フォン・レイジ・アスナ, Arīa fon Reiji Asuna) Voiced by: Sachi Kokuryu A prince from the country called Arian that exists within a space colony in another dimension, who became friends with Sei Iori and together won the Gunpla Battle World Championship. He somehow manages to log into the metaverse to reunite with his friend, piloting the SB-011 Star Burning Gundam. Sekai Kamiki (カミキ・セカイ, Kamiki Sekai) Voiced by: Kazumi Togashi A veteran builder and former member of Team Try Fighters. He is currently the Japanese National representative Champion. In the series he develops a rivalry relationship with Hiroto similar to that of Kyoya and Rommel. His current Gunpla is the Shin Burning Gundam, the latest version of the original KMK-B01 Kamiki Burning Gundam from Gundam Build Fighters Try which is based on the Burning Gundam and Master Gundam. Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi A veteran diver, the one responsible for discovering more EL-Divers, and a former member of the legendary force "Avalon", who later joined the unofficial, "BUILD DiVERS" and eventually became the current Force Leader, and as well as the current title holder of "Hero of Gunpla". In the third episode he is the only Build Diver member who participates in the tournament, while his fellow force-mates are in the audience routing for him and Rio. His Gunpla is the Plutine Gundam, which is a combination of his Core Gundam II Plus, upgraded from the Core Gundam II featured in Gundam Build Divers Re:Rise equipped with the Pluto Armor. Magee (マギー, Magī) Voiced by: Taishi Murata A flamboyant veteran Diver who owns a shop in the metaverse and is an acquaintance of Seria's. Freddie (フレディ, Furedi) Voiced by: Ai Kakuma An alien anthropomorphic dog boy from planet Eldora, a support member to both Build Diver teams, who manages to access the metaverse from his home planet along his fellow Eldorans. Ogre (オーガ, Ōga) Voiced by: Wataru Hatano Kyoya Kisugi (キスギ・キョウヤ, Kisugi Kyōya) / Kyoya Kujo (クジョウ・キョウヤ, Kujō Kyōya) Voiced by: Jun Kasama Leader of the legendary force "Avalon" and the reigning and current title holder of "World Champion". He along with Hiroto Kuga, Maria Urutsuki, and Tatsuya Yuuki are currently at the top of the entire gunpla world community. His current gunpla is an recolored version of his AGE-TRYMAG Gundam TRY AGE Magnum from Gundam Build Divers Re:Rise. Susumu Sazaki (サザキ・ススム, Sazaki Susumu) Voiced by: Ryo Hirohashi Kaoruko Sazaki (サザキ・カオルコ, Sazaki Kaoruko) Voiced by: Ryo Hirohashi Mahiru Shigure (シグレ・マヒル, Shigure Mahiru) Voiced by: Rinko Natsuhi Keiko Sano (サノ・ケイコ, Sano Keiko) Voiced by: Ami Naito === Others === Maria Urutsuki (ウルツキ・マリア, Urutsuki Maria) / Mascarilla (マスカリージャ, Masukarīja) Voiced by: Ai Kakuma A mysterious masked woman with a harsh rivalry with Seria and a similar avatar as hers, she is later revealed as Seria's younger sister Maria, who began to loathe her sister after she quit on their dream to fight for the title of Lady Kawaguchi. She later obtains the title, becoming "Lady Kawaguchi VII". Jeff (ジェフさん, Jefu-san) Voiced by: Kenta Miyake A distant relative of Seria and Maria's and owner of the hobby shop where Seria lives. Mellow Neige (メロウ・ネージュ, Merō Nēju) Voiced by: Chikano Ibuki A sentient A.I. who is the current publicity face of the Gunpla Metaverse. == Episodes ==
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Macromedia FreeHand

Macromedia FreeHand (formerly Aldus FreeHand) is a discontinued computer application for creating two-dimensional vector graphics oriented primarily to professional illustration, desktop publishing and content creation for the Web. FreeHand was similar in scope, intended market, and functionality to Adobe Illustrator, CorelDRAW and Xara Designer Pro. Because of FreeHand's dedicated page layout and text control features, it also compares to Adobe InDesign and QuarkXPress. Professions using FreeHand include graphic design, illustration, cartography, fashion and textile design, product design, architects, scientific research, and multimedia production. FreeHand was created by Altsys Corporation in 1988 and licensed to Aldus Corporation, which released versions 1 through 4. In 1994, Aldus merged with Adobe Systems and because of the overlapping market with Adobe Illustrator, FreeHand was returned to Altsys by order of the Federal Trade Commission. Altsys was later bought by Macromedia, which released FreeHand versions 5 through 11 (FreeHand MX). In 2005, Adobe Systems acquired Macromedia and its product line which included FreeHand MX, under whose ownership it presently resides. Since 2003, FreeHand development has been discontinued; in the Adobe Systems catalog, FreeHand has been replaced by Adobe Illustrator. FreeHand MX continues to run under Windows 11 and under Mac OS X 10.6 (Snow Leopard) within Rosetta, a PowerPC code emulator, and requires a registration patch supplied by Adobe. FreeHand 10 runs without problems on Mac OS X Snow Leopard with Rosetta enabled, and does not require a registration patch. Later versions of macOS can use a Mac OS X Snow Leopard Server virtual machine to emulate the required PowerPC support. == History == === Altsys and Aldus FreeHand === In 1984, James R. Von Ehr founded Altsys Corporation to develop graphics applications for personal computers. Based in Plano, Texas, the company initially produced font editing and conversion software; Fontastic Plus, Metamorphosis, and the Art Importer. Their premier PostScript font-design package, Fontographer, was released in 1986 and was the first such program on the market. With the PostScript background having been established by Fontographer, Altsys also developed FreeHand (originally called Masterpiece) as a Macintosh Postscript-based illustration program that used Bézier curves for drawing and was similar to Adobe Illustrator. FreeHand was announced as "... a Macintosh graphics program described as having all the features of Adobe's Illustrator plus drawing tools such as those in Mac Paint and Mac Draft and special effects similar to those in Cricket Draw." Seattle's Aldus Corporation acquired a licensing agreement with Altsys Corporation to release FreeHand along with their flagship product, Pagemaker, and Aldus FreeHand 1.0 was released in 1988. FreeHand's product name used intercaps; the F and H were capitalized. The partnership between the two companies continued with Altsys developing FreeHand and with Aldus controlling marketing and sales. After 1988, a competitive exchange between Aldus FreeHand and Adobe Illustrator ensued on the Macintosh platform with each software advancing new tools, achieving better speed, and matching significant features. Windows PC development also allowed Illustrator 2 (aka, Illustrator 88 on the Mac) and FreeHand 3 to release Windows versions to the graphics market. FreeHand 1.0 sold for $495 in 1988. It included the standard drawing tools and features as other draw programs including special effects in fills and screens, text manipulation tools, and full support for CMYK color printing. It was also possible to create and insert PostScript routines anywhere within the program. FreeHand performed in preview mode instead of keyline mode but performance was slower. FreeHand 2.0 sold for $495 in 1989. Besides improving on the features of FreeHand 1.0, FreeHand 2 added faster operation, Pantone colors, stroked text, flexible fill patterns and automatically import graphic assets from other programs. It added accurate control over a color monitor screen display, limited only by its resolution. FreeHand 3.0 sold for $595 in 1991. New features included resizable color, style, and layer panels including an Attributes menu. Also tighter precision of both the existing tools and aligning of objects. FH3 created compound Paths. Text could be converted to paths, applied to an ellipse, or made vertical. Carried over from version 1.0, FreeHand 3 suffered by having text entered into a dialog box instead of directly to the page. In October 1991, a 3.1 upgrade made FreeHand work with System 7 but additionally, it supported pressure-sensitive drawing which offered varying line widths with a users stroke. It improved element manipulation and added more import/export options. FreeHand 4.0 sold for $595 in 1994. Altsys ported FreeHand 3.0 to the NeXT system creating a new program named Virtuoso. Virtuoso continued its development at Altsys and version 2.0 of Virtuoso was feature-equivalent to FreeHand 4 (with the addition of NeXT-specific features such as Services and Display PostScript) and file compatible, with Virtuoso 2 able to open FreeHand 4 files and vice versa. A prominent feature of this version was the ability to type directly into the page and wrap inside or outside any shape. It also included drag-and-drop color imaging, a larger pasteboard, and a user interface that featured floating, rollup panels. The colors palette included a color mixer for adding new colors to the swatch list. Speed increases were made. In the same year of FreeHand 4 release, Adobe Systems announced merger plans with Aldus Corporation for $525 million. Fear about the end of competition between these two leading applications was reported in the media and expressed by customers (Illustrator versus FreeHand and Adobe Photoshop versus Aldus PhotoStyler.) Because of this overlapping of the market, Altsys stepped in by suing Aldus, saying that the merger deal was "a prima facie violation of a non-compete clause within the FreeHand licensing agreement." Altsys CEO Jim Von Ehr explained, "No one loves FreeHand more than we do. We will do whatever it takes to see it survive." The Federal Trade Commission issued a complaint against Adobe Systems on October 18, 1994, ordering a divestiture of FreeHand to "remedy the lessening of competition resulting from the acquisition as alleged in the Commission's complaint," and further, the FTC ordering, "That for a period of ten (10) years from the date on which this order becomes final, respondents shall not, without the prior approval of the Commission, directly or indirectly, through subsidiaries, partnerships, or otherwise .. Acquire any Professional Illustration Software or acquire or enter into any exclusive license to Professional Illustration Software;" (referring to FreeHand.) FreeHand was returned to Altsys with all licensing and marketing rights as well as Aldus FreeHand's customer list. === Macromedia Freehand === By late 1994, Altsys still retained all rights to FreeHand. Despite brief plans to keep it in-house to sell it along with Fontographer and Virtuoso, Altsys reached an agreement with the multimedia software company, Macromedia, to be acquired. This mutual agreement provided FreeHand and Fontographer a new home with ample resources for marketing, sales, and competition against the newly merged Adobe-Aldus company. Altsys would remain in Richardson, Texas, but would be renamed as the Digital Arts Group of Macromedia and was responsible for the continued development of FreeHand. Macromedia received FreeHand's 200,000 customers and expanded its traditional product line of multimedia graphics software to illustration and design graphics software. CEO James Von Ehr became a Macromedia vice-president until 1997 when he left to start another venture. FreeHand 5.0 sold for $595 in 1995. This version featured a more customizable and expanded workspace, multiple views, stronger design and editing tools, a report generator, spell check, paragraph styles, multicolor gradient fills up to 64 colors, speed improvements, and it accepted Illustrator plugins. In September 1995, a 5.5 upgrade added Photoshop plug-in support, PDF import capabilities, the Extract feature, inline graphics to text, improved auto-expanding text containers, the Crop feature, and the Create PICT Image feature. A FreeHand 5.5 upgrade was part of the FreeHand Graphics Studio (a suite that included Fontographer, Macromedia xRes image editing application, and Extreme 3D animation and modeling application). FreeHand 6.0 in 1996. This version only existed in beta. Some Freehand 7 prerelease versions were released under the Freehand 6 tag. FreeHand 7.0 sold for $399 in 1996, or $449 as part of the FreeHand Graphics Studio (see above.) Features included a redesigned user interface that allowed recombining Inspectors, Panel Tabs, Dockable Panels, Smart Cursors,
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Imagen (text-to-image model)

Imagen is a series of text-to-image models developed by Google DeepMind. They were developed by Google Brain until the company's merger with DeepMind in April 2023. Imagen is primarily used to generate images from text prompts, similar to Stability AI's Stable Diffusion, OpenAI's DALL-E, or Midjourney. The original version of the model was first discussed in a paper from May 2022. The tool produces high-quality images and is available to all users with a Google account through services including Gemini, ImageFX, and Vertex AI. == History == Imagen's original version was first presented in a paper published in May 2022. It featured the ability to generate high-fidelity images from natural language. The second version, Imagen 2 was released in December 2023. The standout feature was text and logo generation. Imagen 3 was released in August 2024. Google claims that the newest version provides better detail and lighting on generated images. On 20 May 2025 at Google I/O 2025 the company released an improved model, Imagen 4. == Technology == Imagen uses two key technologies. The first is the use of transformer-based large language models, notably T5, to understand text and subsequently encode text for image synthesis. The second is the use of cascaded diffusion models providing high-fidelity image generation. Imagen generates image in three stages, starting from a base of 64x64, then upsampled to 256x256 and 1024x1024. Imagen 4 generates image up to 2k. == Capabilities == Imagen can generate photorealistic images from text prompts. It can also create various styles, such as cinematic, 35mm film, illustration, and surreal. Like most text-to-image generative AI models, Imagen has difficulty rendering human fingers, text, ambigrams and other forms of typography. The model can generate images in five aspect ratios, namely 9:16, 3:4, 1:1, 4:3, and 16:9. Imagen can also refine already generated images by editing existing text prompts.
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Structure mapping engine

In artificial intelligence and cognitive science, the structure mapping engine (SME) is an implementation in software of an algorithm for analogical matching based on the psychological theory of Dedre Gentner. The basis of Gentner's structure-mapping idea is that an analogy is a mapping of knowledge from one domain (the base) into another (the target). The structure-mapping engine is a computer simulation of the analogy and similarity comparisons. The theory is useful because it ignores surface features and finds matches between potentially very different things if they have the same representational structure. For example, SME could determine that a pen is like a sponge because both are involved in dispensing liquid, even though they do this very differently. == Structure mapping theory == Structure mapping theory is based on the systematicity principle, which states that connected knowledge is preferred over independent facts. Therefore, the structure mapping engine should ignore isolated source-target mappings unless they are part of a bigger structure. The SME, the theory goes, should map objects that are related to knowledge that has already been mapped. The theory also requires that mappings be done one-to-one, which means that no part of the source description can map to more than one item in the target and no part of the target description can be mapped to more than one part of the source. The theory also requires that if a match maps subject to target, the arguments of subject and target must also be mapped. If both these conditions are met, the mapping is said to be "structurally consistent." == Concepts in SME == SME maps knowledge from a source into a target. SME calls each description a dgroup. Dgroups contain a list of entities and predicates. Entities represent the objects or concepts in a description — such as an input gear or a switch. Predicates are one of three types and are a general way to express knowledge for SME. Relation predicates contain multiple arguments, which can be other predicates or entities. An example relation is: (transmit (what from to)). This relation has a functor transmit and takes three arguments: what, from, and to. Attribute predicates are the properties of an entity. An example of an attribute is (red gear) which means that gear has the attribute red. Function predicates map an entity into another entity or constant. An example of a function is (joules power source) which maps the entity power source onto the numerical quantity joules. Functions and attributes have different meanings, and consequently SME processes them differently. For example, in SME's true analogy rule set, attributes differ from functions because they cannot match unless there is a higher-order match between them. The difference between attributes and functions will be explained further in this section's examples. All predicates have four parameters. They have (1) a functor, which identifies it, and (2) a type, which is either relation, attribute, or function. The other two parameters (3 and 4) are for determining how to process the arguments in the SME algorithm. If the arguments have to be matched in order, commutative is false. If the predicate can take any number of arguments, N-ary is false. An example of a predicate definition is: (sme:defPredicate behavior-set (predicate) relation :n-ary? t :commutative? t) The predicate's functor is “behavior-set,” its type is “relation,” and its n-ary and commutative parameters are both set to true. The “(predicate)” part of the definition specifies that there will be one or more predicates inside an instantiation of behavior-set. == Algorithm details == The algorithm has several steps. The first step of the algorithm is to create a set of match hypotheses between source and target dgroups. A match hypothesis represents a possible mapping between any part of the source and the target. This mapping is controlled by a set of match rules. By changing the match rules, one can change the type of reasoning SME does. For example, one set of match rules may perform a kind of analogy called literal similarity, and another performs a kind of analogy called true-analogy. These rules are not the place where domain-dependent information is added, but rather where the analogy process is tweaked, depending on the type of cognitive function the user is trying to emulate. For a given match rule, there are two types of rules that further define how it will be applied: filter rules and intern rules. Intern rules use only the arguments of the expressions in the match hypotheses that the filter rules identify. This limitation makes the processing more efficient by constraining the number of match hypotheses that are generated. At the same time, it also helps to build the structural consistencies that are needed later on in the algorithm. An example of a filter rule from the true-analogy rule set creates match hypotheses between predicates that have the same functor. The true-analogy rule set has an intern rule that iterates over the arguments of any match hypothesis, creating more match hypotheses if the arguments are entities or functions, or if the arguments are attributes and have the same functor. In order to illustrate how the match rules produce match hypotheses consider these two predicates: transmit torque inputgear secondgear (p1) transmit signal switch div10 (p2) Here we use true analogy for the type of reasoning. The filter match rule generates a match between p1 and p2 because they share the same functor, transmit. The intern rules then produce three more match hypotheses: torque to signal, inputgear to switch, and secondgear to div10. The intern rules created these match hypotheses because all the arguments were entities. If the arguments were functions or attributes instead of entities, the predicates would be expressed as: transmit torque (inputgear gear) (secondgear gear) (p3) transmit signal (switch circuit) (div10 circuit) (p4) These additional predicates make inputgear, secondgear, switch, and div10 functions or attributes depending on the value defined in the language input file. The representation also contains additional entities for gear and circuit. Depending on what type inputgear, secondgear, switch, and div10 are, their meanings change. As attributes, each one is a property of the gear or circuit. For example, the gear has two attributes, inputgear and secondgear. The circuit has two attributes, switch and circuit. As functions inputgear, secondgear, switch, and div10 become quantities of the gear and circuit. In this example, the functions inputgear and secondgear now map to the numerical quantities “torque from inputgear” and “torque from secondgear,” For the circuit the quantities map to logical quantity “switch engaged” and the numerical quantity “current count on the divide by 10 counter.” SME processes these differently. It does not allow attributes to match unless they are part of a higher-order relation, but it does allow functions to match, even if they are not part of such a relation. It allows functions to match because they indirectly refer to entities and thus should be treated like relations that involve no entities. However, as next section shows, the intern rules assign lower weights to matches between functions than to matches between relations. The reason SME does not match attributes is because it is trying to create connected knowledge based on relationships and thus satisfy the systematicity principle. For example, if both a clock and a car have inputgear attributes, SME will not mark them as similar. If it did, it would be making a match between the clock and car based on their appearance — not on the relationships between them. When the additional predicates in p3 and p4 are functions, the results from matching p3 and p4 are similar to the results from p1 and p2 except there is an additional match between gear and circuit and the values for the match hypotheses between (inputgear gear) and (switch circuit), and (secondgear gear) and (div10 circuit), are lower. The next section describes the reason for this in more detail. If the inputgear, secondgear, switch, and div10 are attributes instead of entities, SME does not find matches between any of the attributes. It finds matches only between the transmit predicates and between torque and signal. Additionally, the structural-evaluation scores for the remaining two matches decrease. In order to get the two predicates to match, p3 would need to be replaced by p5, which is demonstrated below. transmit torque (inputgear gear) (div10 gear) (p5) Since the true-analogy rule set identifies that the div10 attributes are the same between p5 and p4 and because the div10 attributes are both part of the higher-relation match between torque and signal, SME makes a match between (div10 gear) and (div10 circuit) — which leads to a match between gear and circuit. Being part of a higher-order match is a requiremen
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