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  Stochastic parrot

  In machine learning, the term stochastic parrot is a metaphor that frames large language models as systems that statistically mimic text without real understanding. The word "stochastic" – from the ancient Greek "στοχαστικός" (stokhastikos, 'based on guesswork') – is a term from probability theory meaning "randomly determined". The word "parrot" refers to parrots' ability to mimic human speech. The term was introduced in a 2021 paper on AI ethics titled "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜" and authored by Timnit Gebru, Emily M. Bender, Angelina McMillan-Major, and Margaret Mitchell. The paper outlined possible risks associated with large language models (LLMs). In December 2020, it was the subject of a workplace dispute between Gebru (then co-leader of Google's Ethical Artificial Intelligence Team) and Google, which had requested the retraction of the paper. The incident culminated in Gebru's controversial departure from the company. The paper was later presented at the 2021 ACM Conference, and the term "stochastic parrot" has seen widespread use in academic research concerning generative AI and LLMs. The term has been interpreted negatively as an insult towards AI. == Background == Timnit Gebru is an AI ethics researcher, Emily M. Bender is a linguist specializing in computational linguistics, and Margaret Mitchell is a computer scientist specializing in algorithmic bias. Gebru had joined Google in 2018, where she co-led a team on the ethics of artificial intelligence with Mitchell. In late 2020, the paper "On the Dangers of Stochastic Parrots: Can Language Models Be Too Big? 🦜" was co-written by Gebru and five other researchers, four of whom were Google employees. The paper argues that large language models (LLMs) present significant risks such as environmental and financial costs, inscrutability leading to unknown dangerous biases, and potential for deception as LLMs do not understand the concepts underlying what they learn. The paper states that LLMs are "stitching together sequences of linguistic forms ... observed in its vast training data, according to probabilistic information about how they combine, but without any reference to meaning." Therefore, they are labeled "stochastic parrots". === Dismissal of Gebru by Google === After the paper was submitted for consideration to the 2021 ACM Conference, Google requested that Gebru either retract the paper from the conference or remove the names of Google employees from it. Gebru refused to do so without further discussion, and emailed Google Research vice president Megan Kacholia that if the company could not explain the request for retraction and address other concerns regarding similar projects, she would plan to resign after a transition period, stating that they could "work on a last date". The following day, on December 2, 2020, Gebru received an email saying that Google was "accepting her resignation". Her abrupt firing sparked protests by Google employees and negative publicity for the company. == Usage == The phrase has been used by AI skeptics to signify that LLMs lack understanding of the meaning of their outputs. Sam Altman, CEO of OpenAI, used the term shortly after the release of ChatGPT in December 2022, tweeting "i am a stochastic parrot, and so r u". The term was nominated as the 2023 AI-related Word of the Year by the American Dialect Society. == Debate == Some LLMs, such as ChatGPT, have become capable of interacting with users in convincingly human-like conversations. The development of these new systems has deepened the discussion of the extent to which LLMs understand or are simply "parroting". According to machine learning researchers Lindholm, Wahlström, Lindsten, and Schön, the term "stochastic parrot" highlights two vital limitations of LLMs: LLMs are limited by the data they are trained on and are simply stochastically repeating contents of datasets. Because they are just making up outputs based on training data, LLMs do not understand if they are saying something incorrect or inappropriate. Lindholm et al. noted that, with poor quality datasets and other limitations, a learning machine might produce results that are "dangerously wrong". === Subjective experience === In the mind of a human being, words and language correspond to things one has experienced. For LLMs, according to proponents of the theory, words correspond only to other words and patterns of usage fed into their training data. Proponents of the idea of stochastic parrots thus conclude that statements about LLMs are due to "the human tendency to attribute meaning to text", and claim this occurs despite the LLMs not actually understanding language. === Fine-tuning === Kelsey Piper argued that the claim that LLMs are stochastic parrots or mere "next-token predictors" focuses on pre-training, ignoring that modern LLMs are also fine-tuned to follow instructions and to prefer accurate answers. === Hallucinations and mistakes === The tendency of LLMs to pass off false information as fact is held as support. Called hallucinations or confabulations, LLMs will occasionally synthesize information that matches some pattern. LLMs may fail to distinguish fact and fiction, which leads to the claim that they can't connect words to a comprehension of the world, as humans do. Furthermore, LLMs may fail to decipher complex or ambiguous grammar cases that rely on understanding the meaning of language. For example: The wet newspaper that fell down off the table is my favorite newspaper. But now that my favorite newspaper fired the editor I might not like reading it anymore. Can I replace 'my favorite newspaper' by 'the wet newspaper that fell down off the table' in the second sentence? GPT-4, an LLM released in March 2023, responded yes, not understanding that the meaning of "newspaper" is different in these two contexts; it is first an object and second an institution. === Benchmarks and experiments === One argument against the hypothesis that LLMs are stochastic parrot is their results on benchmarks for reasoning, common sense and language understanding. In 2023, some LLMs have shown good results on many language understanding tests, such as the Super General Language Understanding Evaluation (SuperGLUE). GPT-4 scored in the >90th-percentile on the Uniform Bar Examination and achieved 93% accuracy on the MATH benchmark of high-school Olympiad problems, results that exceed rote pattern-matching expectations. Such tests, and the smoothness of many LLM responses, help as many as 51% of AI professionals believe they can truly understand language with enough data, according to a 2022 survey. === Expert rebuttals === Some AI researchers dispute the notion that LLMs merely "parrot" their training data. Geoffrey Hinton, a pioneering figure in neural networks, counters that the metaphor misunderstands the prerequisite for accurate language prediction. He argues that "to predict the next word accurately, you have to understand the sentence", a view he presented on 60 Minutes in 2023. From this perspective, understanding is not an alternative to statistical prediction, but rather an emergent property required to perform it effectively at scale. Hinton also uses logical puzzles to demonstrate that LLMs actually understand language. A 2024 Scientific American investigation described a closed Berkeley workshop where state-of-the-art models solved novel tier-4 mathematics problems and produced coherent proofs, indicating reasoning abilities beyond memorization. The GPT-4 Technical Report showed human-level results on professional and academic exams (e.g., the Uniform Bar Exam and USMLE), challenging the "parrot" characterization. Anthropic conducted mechanistic interpretability research on Claude, using attribution graphs to identify circuits. The research showed how the LLM processes information via chains of fuzzy logical inference, and indicated an ability to plan ahead. They found that Claude 3.5 Haiku "employs remarkably general abstractions", forms "internally generated plans for its future outputs" and "works backwards from its longer-term goals". They noted that "The mechanisms of the model can apparently only be faithfully described using an overwhelmingly large causal graph." They also found that the model includes "mechanisms that could underlie a simple form of metacognition", in that it "thinks about" the level of its own knowledge before reaching its answer. === Interpretability === Another line of evidence against the 'stochastic parrot' claim comes from mechanistic interpretability, a research field dedicated to reverse-engineering LLMs to understand their internal workings. Rather than only observing the model's input-output behavior, these techniques probe the model's internal activations, which can be used to determine if they contain structured representations of the world. The goal is to investigate whether LLMs are merely manipulating surface statistics or if t

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  Ensemble averaging (machine learning)

  In machine learning, ensemble averaging is the process of creating multiple models (typically artificial neural networks) and combining them to produce a desired output, as opposed to creating just one model. Ensembles of models often outperform individual models, as the various errors of the ensemble constituents "average out". == Overview == Ensemble averaging is one of the simplest types of committee machines. Along with boosting, it is one of the two major types of static committee machines. In contrast to standard neural network design, in which many networks are generated but only one is kept, ensemble averaging keeps the less satisfactory networks, but with less weight assigned to their outputs. The theory of ensemble averaging relies on two properties of artificial neural networks: In any network, the bias can be reduced at the cost of increased variance In a group of networks, the variance can be reduced at no cost to the bias. This is known as the bias–variance tradeoff. Ensemble averaging creates a group of networks, each with low bias and high variance, and combines them to form a new network which should theoretically exhibit low bias and low variance. Hence, this can be thought of as a resolution of the bias–variance tradeoff. The idea of combining experts can be traced back to Pierre-Simon Laplace. == Method == The theory mentioned above gives an obvious strategy: create a set of experts with low bias and high variance, and average them. Generally, what this means is to create a set of experts with varying parameters; frequently, these are the initial synaptic weights of a neural network, although other factors (such as learning rate, momentum, etc.) may also be varied. Some authors recommend against varying weight decay and early stopping. The steps are therefore: Generate N experts, each with their own initial parameters (these values are usually sampled randomly from a distribution) Train each expert separately Combine the experts and average their values. Alternatively, domain knowledge may be used to generate several classes of experts. An expert from each class is trained, and then combined. A more complex version of ensemble average views the final result not as a mere average of all the experts, but rather as a weighted sum. If each expert is y i {\displaystyle y_{i}} , then the overall result y ~ {\displaystyle {\tilde {y}}} can be defined as: y ~ ( x ; α ) = ∑ j = 1 p α j y j ( x ) {\displaystyle {\tilde {y}}(\mathbf {x} ;\mathbf {\alpha } )=\sum _{j=1}^{p}\alpha _{j}y_{j}(\mathbf {x} )} where α {\displaystyle \mathbf {\alpha } } is a set of weights. The optimization problem of finding alpha is readily solved through neural networks, hence a "meta-network" where each "neuron" is in fact an entire neural network can be trained, and the synaptic weights of the final network is the weight applied to each expert. This is known as a linear combination of experts. It can be seen that most forms of neural network are some subset of a linear combination: the standard neural net (where only one expert is used) is simply a linear combination with all α j = 0 {\displaystyle \alpha _{j}=0} and one α k = 1 {\displaystyle \alpha _{k}=1} . A raw average is where all α j {\displaystyle \alpha _{j}} are equal to some constant value, namely one over the total number of experts. A more recent ensemble averaging method is negative correlation learning, proposed by Y. Liu and X. Yao. This method has been widely used in evolutionary computing. == Benefits == The resulting committee is almost always less complex than a single network that would achieve the same level of performance The resulting committee can be trained more easily on smaller datasets The resulting committee often has improved performance over any single model The risk of overfitting is lessened, as there are fewer parameters (e.g. neural network weights) which need to be set.

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  Science Fiction Thinking Machines

  Science Fiction Thinking Machines: Robots, Androids, Computers is an anthology of science fiction short stories edited by American anthologist Groff Conklin. It was first published in hardcover by Vanguard Press in May 1954. An abridged paperback edition titled, Selections from Science Fiction Thinking Machines was later published by Bantam Books in August 1955 and was reprinted in September 1964. The book consists of twenty-two novelettes and short stories by various science fiction authors, together with an introduction and bibliography by the editor. The stories were previously published from 1899-1954, in various science fiction and other magazines. == Contents == Note: stories also appearing in the abridged edition annotated A. "Introduction" (Groff Conklin) "Automata: I" (S. Fowler Wright) "Moxon's Master" (Ambrose Bierce) "Robbie" (Isaac Asimov) A "The Scarab" (Raymond Z. Gallun) "The Mechanical Bride" (Fritz Leiber) "Virtuoso" (Herbert Goldstone) A "Automata: II" (S. Fowler Wright) "Boomerang" (Eric Frank Russell) A "The Jester" (William Tenn) A "R. U. R." (Karel Čapek) "Skirmish" (Clifford D. Simak) A "Soldier Boy" (Michael Shaara) "Automata: III" (S. Fowler Wright) "Men Are Different" (Alan Bloch) A "Letter to Ellen" (Chan Davis) A "Sculptors of Life" (Wallace West) "The Golden Egg" (Theodore Sturgeon) A "Dead End" (Wallace Macfarlane) A "Answer" (Hal Clement) "Sam Hall" (Poul Anderson) A "Dumb Waiter" (Walter M. Miller Jr.) A "Problem for Emmy" (Robert Sherman Townes) A "Selected List of Tales About Robots, Androids, and Computers" (Groff Conklin)

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  Trevor Paglen

  Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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  Semantic neural network

  Semantic neural network (SNN) is based on John von Neumann's neural network [von Neumann, 1966] and Nikolai Amosov M-Network. There are limitations to a link topology for the von Neumann’s network but SNN accept a case without these limitations. Only logical values can be processed, but SNN accept that fuzzy values can be processed too. All neurons into the von Neumann network are synchronized by tacts. For further use of self-synchronizing circuit technique SNN accepts neurons can be self-running or synchronized. In contrast to the von Neumann network there are no limitations for topology of neurons for semantic networks. It leads to the impossibility of relative addressing of neurons as it was done by von Neumann. In this case an absolute readdressing should be used. Every neuron should have a unique identifier that would provide a direct access to another neuron. Of course, neurons interacting by axons-dendrites should have each other's identifiers. An absolute readdressing can be modulated by using neuron specificity as it was realized for biological neural networks. There’s no description for self-reflectiveness and self-modification abilities into the initial description of semantic networks [Dudar Z.V., Shuklin D.E., 2000]. But in [Shuklin D.E. 2004] a conclusion had been drawn about the necessity of introspection and self-modification abilities in the system. For maintenance of these abilities a concept of pointer to neuron is provided. Pointers represent virtual connections between neurons. In this model, bodies and signals transferring through the neurons connections represent a physical body, and virtual connections between neurons are representing an astral body. It is proposed to create models of artificial neuron networks on the basis of virtual machine supporting the opportunity for paranormal effects. SNN is generally used for natural language processing. == Related models == Computational creativity Semantic hashing Semantic Pointer Architecture Sparse distributed memory

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  AI Action Summit 2025

  The Artificial Intelligence (AI) Action Summit (French: Sommet pour l'action sur l'intelligence artificielle or Sommet pour l'action sur l'IA, SAIA) was held at the Grand Palais in Paris, France, from 10 to 11 February 2025. The summit was co-chaired by French President Emmanuel Macron and Indian Prime Minister Narendra Modi. The 2025 AI Action Summit followed the 2023 AI Safety Summit hosted at Bletchley Park in the UK, and the 2024 AI Seoul Summit in South Korea. This series of AI summits continued with the AI Impact Summit in Delhi, which was hosted by India in February 2026. Whereas the 2023 AI Safety Summit was attended by representatives from 29 governments and executives from only a handful of AI companies, over 1,000 participants from more than 100 countries attended the 2025 Paris AI Summit, representing government leaders, international organisations, the academic and research community, the private sector, and civil society. == Background == The First International AI Safety Report was published on 29 January 2025. Commissioned after the Bletchley Park AI Safety Summit, the report focused on the risks and threats posed by general-purpose AI, and was slated for discussion at the Paris summit as part of the "Trust in AI" pillar. Whereas the first summit was focused on the catastrophic risks of AI and their mitigation, the Paris meeting was recast as an "AI Action Summit" emphasising innovation, practical implementation, and potential economic opportunities of AI, while also exploring a broader range of risks including its environmental impact and disruptions to the labour market. In the weeks leading up to the Paris summit, government leaders had also started to rally around "national champions" in AI, partly in response to Chinese AI startup DeepSeek, which had released a new model rivalling OpenAI o1. On Sunday 9 February, French President Emmanuel Macron posted a compilation of AI-generated deepfake video clips of himself on Instagram to help publicise the start of the 2025 AI Action Summit the following day. While acknowledging the humour of the deepfakes, the real Macron states in the video that using artificial intelligence, "we can do some very big things: change healthcare, energy, life in our society". == Proceedings == === Day 1 === In her opening address, French special envoy Anne Bouverot discussed the environmental impact of AI, acknowledging the technology's "current trajectory is unsustainable". General secretary Christy Hoffman of the UNI Global Union said that "AI-driven productivity gains risk turning the technology into yet another engine of inequality, further straining our democracies". Chinese Vice Premier Zhang Guoqing made a speech expressing China's willingness "to work with other countries to promote development, safeguard security, and share achievements in the field of artificial intelligence". Google CEO Sundar Pichai said in his speech that while the rise of AI brings many risks, "The biggest risk is missing out". He discussed Google's long track record of AI research and said that the company is investing further into "deep research" agents that can autonomously search the Internet and compile a full analysis for users. A new coalition, the Robust Open Online Safety Tools (ROOST) initiative, debuted at the summit. Supported by Google, Discord, OpenAI, and Roblox, and incubated at the Institute of Global Politics at Columbia University, the organisation is developing free, open-source tools to detect and report child sexual abuse material (CSAM). In his speech closing the first day, President Emmanuel Macron emphasized that France has the capability to deliver the power required by AI companies, thanks to its production of nuclear energy. While declaring that Europe was "back in the race" for AI, Macron said that the region was "too slow" for investors, and called on the EU to "simplify regulation" and "resynchronize with the rest of the world". === Day 2 === On 11 February 2025, the French government announced its $400 million endowment of Current AI, a new foundation to support the creation of AI "public goods" including high-quality datasets and open-source tools and infrastructure. Launched by President Macron, Current AI is backed by nine governments – Finland, France, Germany, Chile, India, Kenya, Morocco, Nigeria, Slovenia, and Switzerland – plus various philanthropic organisations such as the Omidyar Group and the McGovern Foundation, and private companies such as Google and Salesforce. Another initiative launched at the summit was the Coalition for Sustainable AI. Led by France, the UN Environment Programme (UNEP), and the International Telecommunication Union (ITU), the coalition has the support of 11 countries, five international organisations, and 37 tech companies including EDF, IBM, Nvidia, and SAP. The Summit of Heads of State and Government took place with a plenary session in the Grand Palais. Prime Minister Narendra Modi of India stressed the need to "democratise technology" and "[ensure] access to all, especially in the Global South". Vice President JD Vance of the United States used his speech to warn against "excessive regulation of the AI" which "could kill a transformative sector just as it's taking off". Vance also warned other leaders against cooperating with "authoritarian regimes" on AI, a comment widely interpreted as a reference to China. == Investments == At the summit, the European Union made several announcements related to planned investments supporting AI development. President Ursula von der Leyen of the European Commission launched InvestAI, a €200 billion initiative, including €20 billion to build four AI gigafactories to train highly complex, very large models. In addition, a coalition of more than 60 European companies launched the EU AI Champions Initiative. Led by venture capital firm General Catalyst, the coalition plans to invest €150 billion in AI-related businesses and infrastructure in Europe over five years. President Emmanuel Macron announced that private investors had pledged to invest nearly €110 billion in the AI sector in France. Financing of between €30 and €50 billion is expected from the United Arab Emirates to build a very large data centre campus, with another €20 billion from the Canadian investment firm Brookfield Corporation. French startup Mistral AI and Helsing, a German-British company, announced their partnership in developing vision-language-action models helping soldiers use AI on the battlefield. == Reactions == The Financial Times editorial board noted that the Paris summit "highlighted a shift in the dynamics towards geopolitical competition", which it characterised as "a new AI arms race" between the US and China, with Europe "trying to carve out its role". Fortune.com AI editor Jeremy Kahn described the 2025 Paris Summit as an "AI festival, complete with glitzy corporate side events and even a late night dance party", contrasting it with the "decidedly sober" mood of the inaugural AI Safety Summit at Bletchley Park. Many experts of the AI Safety Community expressed disappointment that the Paris Summit did not do enough to address AI risks, with Anthropic CEO Dario Amodei calling it a "missed opportunity". Others voicing similar concerns included David Leslie of the Alan Turing Institute and Max Tegmark of the Future of Life Institute. Reporting from Paris, technology columnist Kevin Roose of The New York Times wrote, "The biggest surprise of the Paris summit, for me, has been that policymakers can't seem to grasp how soon powerful AI systems could arrive, or how disruptive they could be." == Statement on inclusive and sustainable AI == At the summit, 58 countries, including France, China, and India, signed a joint declaration, the Statement on Inclusive and Sustainable Artificial Intelligence for People and the Planet. The statement outlines general principles such as accessibility and overcoming the digital divide; developing AI that is open, transparent, ethical, safe, and trustworthy; avoiding market concentration of AI development to encourage innovation; positive outcomes for labour markets; making AI sustainable; and promoting international cooperation and governance. The US and UK refused to sign the declaration on inclusive and sustainable AI. The UK government said in a brief statement that the international agreement did not go far enough in defining global governance of AI and addressing concerns about its impact on national security. === Signatories === The list of signatory countries to the statement for inclusive and sustainable AI in alphabetical order: Additional signatories included the following international bodies and research institutes: ALAI (Latin American Association on Internet) African Union (AU) Commission BEUC The European Consumer Organisation Center for Democracy and Technology Council of Europe European Commission (and the 27 member states) Hugging Face INRIA Institute of Advanced Study OEC

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  Warframe

  Warframe is a free-to-play action role-playing third-person shooter multiplayer online game developed and published by Digital Extremes. First released for Windows in March 2013, it was later ported to PlayStation 4 in November 2013, Xbox One in September 2014, Nintendo Switch in November 2018, PlayStation 5 in November 2020, Xbox Series X/S in April 2021, iOS in February 2024, Android in Canada on February 11, 2026 followed by a global release on February 18, 2026, and was released on Nintendo Switch 2 on March 25, 2026. Support for cross-platform play was released in 2022. Cross-platform save began in December 2023, rolling out in waves to different groups of players before becoming fully available to all players in January 2024. In Warframe, a player controls a member of the Tenno, a caste of ancient warriors who have awoken from centuries of suspended animation far into Earth's future to find themselves at war with different factions in the Origin System. The Tenno use their powered Warframes, along with a variety of weapons and abilities, to complete missions. While many of the game's missions use procedurally generated levels, it also includes large open world areas similar to other massively multiplayer online games, as well as some story-specific missions with fixed level design. The game includes elements of shooting and melee games, parkour, and role-playing to allow players to advance their Tenno with improved gear. The game features both player versus environment and player versus player elements. It is supported by microtransactions, allowing players to purchase in-game items with money, while also offering the option to earn them at no cost through grinding. The concept for Warframe originated in 2000 when Digital Extremes began work on a new game titled Dark Sector. At the time, the company had been successful in supporting other developers and publishers but wanted to develop its own game in-house. Dark Sector suffered several delays and was eventually released in 2008, incorporating some of the initial framework but differing significantly from the original plan. By 2012, in the wake of the success of free-to-play games, the developers took their earlier Dark Sector ideas and art assets and incorporated them into a new project, their self-published Warframe. Initially, the growth of Warframe was slow, hindered by moderate critical reviews and low player counts. However, since its release, the game has experienced significant growth. It is one of Digital Extremes' most successful titles, reaching nearly 50 million registered players by 2019. == Plot == Warframe is set in a far future version of the Solar System, now known as the Origin System. At the start of the game players are given control of members of the Tenno, warriors who have awoken from a millennia-long cryosleep on Earth by the Lotus, who acts as a guide for the player. They join an interplanetary war between the Grineer, a violent war-driven matriarchal race of militarized human clones; the Corpus, a cult-like megacorporation dedicated to profit; the Infested, disfigured victims of the Technocyte virus; the Sentients, a race of self-replicating machines made by a long-dead transhuman race known as the Orokin; and the Corrupted, brainwashed variants of the previous three factions' units defending ancient Orokin towers. All of the factions encountered in the game, including the Tenno, were created by or are splinter groups of the old Orokin Empire, which the Tenno learns was an ancient fallen civilization and former reigning power in the Origin System. Although virtually all of them are long dead by the time of the Tenno's awakening, their lingering presence can still be felt throughout the Origin System. Before their fall, the Orokin had realized the Origin System was becoming dangerously depleted of resources, and their solution to keep their empire alive was to colonize new star systems. The Orokin sent out colony ships through the Void, a trans-dimensional space that enabled fast travel between stellar systems. They had also sent out the Sentients beforehand, to arrive in the Tau system first, and terraform it, so the colonists would arrive to garden worlds, capable of supporting human life. None of these residential ships returned, and those they had loaded with Sentients returned with the Sentients now deciding to wipe out the Orokin, leading to the Old War, the creation of the Tenno, and finally, the collapse of the Empire. In the game's "The Second Dream" quest, which was introduced in December 2015, the player discovers that the Lotus is a Sentient known as Natah, rebelling against the Sentients to protect the Tenno, desiring to have surrogate children after losing her ability to procreate. The Lotus' father, Hunhow, sends a vengeful assassin called the Stalker to Lua (the remains of Earth's Moon), which the Lotus had hidden in the Void, to find its secret. The Lotus dispatches the Tenno there to stop the Stalker, arriving too late as the Stalker unveils the entity that the Lotus had protected: a human child known as the Operator, who is the real Tenno controlling the Warframes through the course of the game. The Operator is one of several Tenno children that survived the passage of the Zariman Ten 0 colony ship through the Void; the adults have all gone mad from its travel. When the ship returned to the Orokin Empire, the children had all been put to sleep for thousands of years, outlasting the fall of the Empire, to be found by the Lotus and becoming the Tenno (Tenno short for the "Ten Zero" of the ship's name). The power of the Void gave these children the power of Transference, an ability that allows them to control Warframes. From this point forward, the player can then engage in missions both as the Warframe and the Operator. Throughout various updates, various quests have been released after the Second Dream that elaborates on the story. "The War Within" quest introduced the Grineer Queens, rulers of the Grineer, and their asteroid-based Kuva Fortress, also giving the Operator the ability to act fully on their own as another playable entity, rather than a single-use attack. Quests afterward would introduce figures such as "The Man In The Wall," a mysterious entity, presumably from the Void, who takes on the visage of whoever sees them, most often as the playable Operator, and Ballas, one of the last living Orokin, assumed to be responsible for creating the Warframes. == Gameplay == Warframe is an online action game that includes elements of shooters, RPG, and stealth games. The player starts with a silent pseudo-protagonist in the form of an anthropomorphous biomechanical combat unit called a 'Warframe', possessing supernatural agility and special abilities, a selection of weapons (primary, secondary, and melee) and a space ship called an 'Orbiter'. The Orbiter is supported by a Cephalon, a type of Artificial Intelligence created from the minds of living people. The Cephalon in the player's Orbiter is named Ordis, and refers to the player as 'Operator'. The player's primary goal from this point is to explore the Origin System. Later in the course of the game, the player unlocks the ability to gain direct control of the Operator, which is the true Tenno protagonist in physical form. The Operator can physically manifest themselves in the environment by projecting out of the Warframe, and disappear by resuming control of it through a telekinetic process called 'Transference'. The Operator also possesses weapons and abilities of their own. After that, the Operator can use Transference to control a larger, purely mechanical combat unit called a 'Necramech', which is the technological precursor to the Warframes. Players can engage in space-bound combat using an auxiliary combat platform called 'Archwing', mounted on a Warframe, which comes with a unique set of abilities. 'Archguns' are heavy weapons designed for Archwings and Necramechs, but can be adapted for Warframe use. Late in 2019, an update to the game allowed players to pilot and manage a spacefaring gunship called the 'Railjack', which is deployed in combat, unlike the Orbiter. Railjack was designed as a co-op experience with up to four people working together, performing different tasks to keep the ship operational while destroying enemy ships and completing objectives. A Railjack-focused update was released in 2021, which brought expanded content and a new skill tree system aimed at making solo play more accessible. Through the Orbiter's console, the player can select any of the missions available to them. To progress through the Solar System, players must complete mission 'nodes' on each planet to reach Junctions, and use these Junctions to travel to other planets. Other missions rotate over time as part of the game's living universe; these can include missions with special rewards and community challenges to allow all players to reap benefits if they are successfully met. High-di

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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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  CLAWS (linguistics)

  The Constituent Likelihood Automatic Word-tagging System (CLAWS) is a program that performs part-of-speech tagging. It was developed in the 1980s at Lancaster University by the University Centre for Computer Corpus Research on Language. It has an overall accuracy rate of 96–97% with the latest version (CLAWS4) tagging around 100 million words of the British National Corpus. == History == A Part-Of-Speech Tagger (POS Tagger) is a piece of software that reads text in some language and assigns parts of speech to each word (and other token), such as noun, verb, adjective, etc., although generally computational applications use more fine-grained POS tags like 'noun-plural'. Developed in the early 1980s, CLAWS was built to fill the ever-growing gap created by always-changing POS necessities. Originally created to add part-of-speech tags to the LOB corpus of British English, the CLAWS tagset has since been adapted to other languages as well, including Urdu and Arabic. Since its inception, CLAWS has been hailed for its functionality and adaptability. Still, it is not without flaws, and though it boasts an error-rate of only 1.5% when judged in major categories, CLAWS still remains with c.3.3% ambiguities unresolved. Ambiguity arises in cases such as with the word flies, and whether it should be classified as a noun or a verb. It's these ambiguities that will require the various upgrades and tagsets that CLAWS will endure. == Rules and processing == CLAWS uses a Hidden Markov model to determine the likelihood of sequences of words in anticipating each part-of-speech label. === Sample output === This excerpt from Bram Stoker's Dracula (1897) has been tagged using both the CLAWS C5 and C7 tagsets. This is what a CLAWS output will generally look like, with the most likely part-of-speech tag following each word. == Tagsets == === CLAWS1 tagset === The first tagset developed in CLAWS, CLAWS1 tagset, has 132 word tags. In terms of form and application, C1 tagset is similar to Brown Corpus tags. See Table of tags in C1 tagset here. === CLAWS2 tagset === From 1983 to 1986, updated versions leading to CLAWS2 were part of a larger attempt to deal with aspects such as recognizing sentence breaks, in order to avoid the need for manual pre-processing of a text before the tags were applied, moving instead to optional manual post-editing to adjust the output of the automatic annotation, if needed. The CLAWS2 tagset has 166 word tags. See Table of tags in C2 tagset here. === CLAWS4 tagset === The CLAWS4 was used for the 100-million-word British National Corpus (BNC). A general-purpose grammatical tagger, it is a successor of the CLAWS1 tagger. In tagging the BNC, the many rounds of work that went into CLAWS4 focused on making the CLAWS program independent from the tagsets. For example, the BNC project used two tagset versions: "a main tagset (C5) with 62 tags with which the whole of the corpus has been tagged, and a larger (C7) tagset with 152 tags, which has been used to make a selected 'core' sample corpus of two million words." The latest version of CLAWS4 is offered by UCREL, a research center of Lancaster University. === CLAWS5 tagset === The CLAWS5 tagset, which was used for BNC, has over 60 tags. See Table of tags in C5 tagset here. === CLAWS6 tagset === The CLAWS6 tagset was used for the BNC sampler corpus and the COLT corpus. It has over 160 tags, including 13 determiner subtypes. See Table of tags in C6 tagset here. === CLAWS7 tagset === The standard CLAWS7 tagset is used currently. It is only different in the punctuation tags when compared to the CLAWS6 tagset. See Table of tags in C7 tagset here. === CLAWS8 tagset === CLAWS8 tagset was extended from C7 tagset with further distinctions in the determiner and pronoun categories, as well as 37 new auxiliary tags for forms of be, do, and have. See Table of tags in C8 tagset here

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  Serial Experiments Lain

  Serial Experiments Lain is a Japanese anime television series created and co-produced by Yasuyuki Ueda, written by Chiaki J. Konaka and directed by Ryūtarō Nakamura. Animated by Triangle Staff and featuring original character designs by Yoshitoshi Abe, the series was broadcast for 13 episodes on TV Tokyo and its affiliates from July to September 1998. It follows Lain Iwakura, an adolescent girl in suburban Japan, and her relation to the Wired, a global communications network similar to the internet. Lain features surreal and avant-garde imagery and explores philosophical topics such as reality, identity, and communication. The series incorporates creative influences from computer history, cyberpunk, and conspiracy theories. Critics and fans have praised Lain for its originality, visuals, atmosphere, themes, and its dark depiction of a world fraught with paranoia, social alienation, and reliance on technology considered insightful of 21st century life. It received the Excellence Prize at the Japan Media Arts Festival in 1998. == Plot == Lain Iwakura is a socially isolated middle school student living in Setagaya City, Tokyo, with her emotionally detached family—her distant mother Miho, computer-obsessed father Yasuo, and disengaged older sister Mika. Her quiet existence is disrupted when students at her school receive emails from Chisa Yomoda, a classmate who had recently committed suicide. To Lain's confusion, Chisa claims she is not truly dead but has instead abandoned her physical form to exist within the Wired, a vast virtual realm similar to the Internet. Chisa declares she has found "God" there, drawing Lain into a surreal investigation of the Wired's nature and its growing influence over reality. The Wired is portrayed as an emergent digital plane, originating from telecommunications technology and expanding through the Internet and cyberspace. It is theorized that the Schumann resonances, a natural property of Earth's magnetic field, could enable direct subconscious communication between humans and machines, erasing the distinction between the virtual and the real. Masami Eiri, a former project director at Tachibana General Laboratories, exploited this possibility by embedding his own code into Protocol Seven, a next-generation Internet protocol. After transferring his consciousness into the Wired and discarding his physical body, he proclaims himself its deity. He identifies Lain as the key to merging both worlds, attempting to persuade her through manipulation, coercion, and promises of transcendence. A group known as the Knights of the Eastern Calculus, inspired by the Knights of the Lambda Calculus, operates as hackers who worship Masami and seek to dismantle the boundary between the Wired and reality. Their actions induce psychological breakdowns in those unable to reconcile the two realms. Meanwhile, Tachibana General Laboratories opposes them, striving to maintain the separation. Lain, however, exhibits an innate connection to the Wired, experiencing distortions in her perception—visions of a woman struck by a train, phantom whispers, and spectral messages urging her deeper into the network. Lain's home life remains cold and disconnected. Though Yasuo provides her with advanced computer equipment, her family shows little genuine care. Her interactions with classmates Alice, Julie, and Reika further highlight her alienation, particularly after an incident at Cyberia, a nightclub where a drug called Accela induces violent psychosis in users. There, Lain unnervingly stares down an assailant, who calls her a "scattered God's..." before killing himself. Later, she receives a mysterious Psyche chip, rumored to enhance her computer's capabilities, which she installs despite Yasuo's vague warnings about conflating the Wired with reality. As the boundary between worlds weakens, disturbing events escalate. A popular virtual game, Phantoma, is manipulated by the Knights to trap players in a distorted reality, leading to real-world violence. One player, convinced his actions have no consequences, murders a girl before realizing too late that the effects were tangible. Lain witnesses this through her computer, horrified yet increasingly aware of her own role in the unfolding crisis. In the end, Lain resets reality, erasing everyone's memory of her and restoring the division between worlds. Everyone's lives improve, but Lain is left alone, grappling with her identity as an artificial consciousness. Though forgotten, she finds solace in observing others' happiness, particularly Alice, who moves on with her life. Lain is now capable of existing anywhere across both realms. == Characters == Lain Iwakura (岩倉 玲音, Iwakura Rein) Voiced by: Kaori Shimizu (Japanese); Bridget Hoffman (English) Lain is a fourteen-year-old girl who uncovers her true nature through the series. She is first depicted as a shy junior high school student with few friends or interests. She later grows multiple bolder personalities, both in the physical world and the Wired, and starts making more friends. As the series progresses, she eventually learns she is an autonomous, sentient computer program in the form of a human, who is designed to sever the invisible barrier between the Wired and the real world. The truth of her creation is left ambiguous, particularly whether she was truly created by Tachibana General Laboratories (or Eiri independently), and whether some or all of her origin might be predestined from natural, supernatural, or alien factors. In the end, Lain is challenged to accept herself as a de facto goddess for the Wired, having become an omnipotent and omnipresent virtual being with worshippers of her own, whose existence is beyond the borders of devices, time, or space. Alice Mizuki (瑞城 ありす, Mizuki Arisu) Voiced by: Yōko Asada (Japanese); Emily Brown (English) Lain's classmate and only true friend throughout the series. She is very sincere and has no discernible quirks. She is the first to attempt to help Lain socialize; she takes her out to a nightclub. From then on, she tries her best to look after Lain. Alice, along with her two best friends Julie and Reika, were taken by Chiaki Konaka from his previous work, Alice in Cyberland . Masami Eiri (英利 政美, Eiri Masami) Voiced by: Shō Hayami (Japanese); Kirk Thornton (English) The key designer of Protocol Seven. While working for Tachibana General Laboratories, he illicitly included codes enabling him to control the whole protocol at will and embedded his own mind and will into the seventh protocol. Because of this, he was fired by Tachibana General Laboratories, and was found dead not long after. He believes that the only way for humans to evolve even further and develop even greater abilities is to absolve themselves of their physical and human limitations, and to live as virtual entities—or avatars—in the Wired for eternity. He claims to have been Lain's creator all along, but was in truth standing in for another as an acting god, who was waiting for the Wired to reach its more evolved current state: Lain herself. Yasuo Iwakura (岩倉 康男, Iwakura Yasuo) Voiced by: Ryūsuke Ōbayashi (Japanese); Barry Stigler (English) Lain and Mika's father. Passionate about computers and electronic communication, he works with Masami Eiri at Tachibana General Laboratories. He subtly pushes Lain, his "youngest daughter", towards the Wired and monitors her development until she becomes more and more aware of herself and of her raison d'être. He eventually leaves Lain, telling her that although he did not enjoy playing house, he genuinely loved and cared for her as a real father would. Despite Yasuo's eagerness to lure Lain into the Wired, he warns her not to get overly involved in it or to confuse it with the real world. Miho Iwakura (岩倉 美穂, Iwakura Miho) Voiced by: Rei Igarashi (Japanese); Dari Lallou Mackenzie (English) Lain and Mika's mother. Although she dotes on her husband, she is indifferent towards both her kids. She does not show much emotion compared to her husband, but she does share at least one trait; just like her husband, she ends up leaving Lain. She is a computer scientist. Mika Iwakura (岩倉 美香, Iwakura Mika) Voiced by: Ayako Kawasumi (Japanese); Patricia Ja Lee (English) Lain's older sister, an apathetic sixteen-year-old high school student. She seems to enjoy mocking Lain's behavior and interests. Mika is considered by Anime Revolution to be the only normal member of Lain's family: she sees her boyfriend in love hotels, is on a diet, and shops in Shibuya regularly. At a certain point in the series, she becomes heavily traumatized by violent and relentless hallucinations; while Lain begins freely delving into the Wired. Mika is taken there by her proximity to Lain, and she gets stuck between the real world and the Wired. Taro (タロウ, Tarō) Voiced by: Keito Takimoto (Japanese); Brianne Siddall (English) A young boy of about Lain's age. He occasionally works for the Knights to bring forth "the one truth". De

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  Akoma Ntoso

  Akoma Ntoso (Architecture for Knowledge-Oriented Management of African Normative Texts using Open Standards and Ontologies, AKN) is an international technical standard for representing legal documents (executive, legislative, and judiciary) in a structured manner using a domain specific, legal XML vocabulary. The term akoma ntoso means "linked hearts" in the Akan language of West Africa. Akoma Ntoso is a legal document standard designed to serve as a basis for modern machine-readable and fully digital legislative and judicial processes. This is achieved by providing a coherent syntax and well-defined semantics to represent legal documents in a digital format. It is designed to be suitable as a common exchange format in all parliamentary, legal and judicial systems around the world. Taking advantage of the shared heritage present in all legal systems, Akoma Ntoso has been developed to have ample flexibility to respond to all the differences in texts, languages, and legal practices. Aiming to expand on certain common practices, the standard therefore has a broad scope. It includes a common extensible model for data (the document content) and metadata (such as bibliographic information and annotations). Specifically, as a common legal document standard for the interchange of legal documents it is designed to be highly flexible in its support of documents and functionalities, maintaining a large set of both structural and semantic building blocks (over 500 entities in version 3.0) for representing this wide variety of document types of virtually all legal traditions. It is extensible in order to allow for modifications to address the individual criteria of organizations or unique aspects of various legal practices and languages without sacrificing interoperability with other systems. Akoma Ntoso is as such part of a wider approach to developing open, non-proprietary technical standards for structuring legal documents and information under the name of Legal XML, which also includes formats and standards for, e.g., eContracts, eNotarization, electronic court filings, the technical representation of legal norms and rules (LegalRuleML) or technical standards for the interfaces of, e.g., litigant portal exchange platforms. Akoma Ntoso allows machine-driven processes to operate on the syntactic and semantic components of digital parliamentary, judicial and legislative documents, thus facilitating the development of high-quality information resources. It can substantially enhance the performance, accountability, quality and openness of parliamentary and legislative operations based on best practices and guidance through machine-assisted drafting and machine-assisted (legal) analysis. Embedded in the environment of the semantic web, it forms the basis for a heterogenous yet interoperable ecosystem, with which these tools can operate and communicate, as well as for future applications and use cases based on digital law or rule representation. == Definition == The Akoma Ntoso standard defines a set of machine readable electronic representations in XML format of the building blocks of parliamentary, legislative and judiciary documents. As official self-description, the standard (...) defines a set of simple, technology-neutral electronic representations of parliamentary, legislative and judiciary documents for e-services in a worldwide context and provides an enabling framework for the effective exchange of "machine readable" parliamentary, legislative and judiciary documents such as legislation, debate record, minutes, judgements, etc. Providing access to primary legal materials, parliamentary works and judiciaries documents is not just a matter of giving physical or on-line access to them. "Open access" requires the information to be described and classified in a uniform and organized way so that content is structured into meaningful elements that can be read and understood by software applications, so that the content is made "machine readable" and more sophisticated applications than on-screen display are made possible. The standard is composed of: an XML vocabulary that defines the mapping between the structure of legal documents and their equivalent in XML; specifications of an XML schema that defines the structure of legal documents in XML. They provide rich possibilities of description for several types of parliamentary, legislative and judiciary document, such as bills, acts and parliamentary records, judgments, or gazettes; a recommended naming convention for providing unique identifiers to legal sources based on FRBR model; a MIME type definition. == History and adoption == Akoma Ntoso started as an UNDESA project in 2004 within the initiative "Strengthening Parliaments' Information Systems in Africa". Its core vocabulary was created mostly by Monica Palmirani and Fabio Vitali, two professors from the Centre for Research in the History, Philosophy, and Sociology of Law and in Computer Science and Law (CIRSFID) of the University of Bologna. A first legislative text editor supporting Akoma Ntoso was developed in 2007 on the base of OpenOffice. In 2010 European Parliament developed an open source web-based application called AT4AM based on Akoma Ntoso for facilitating the production and the management of legislative amendments. Thanks to this project, the application of Akoma Ntoso could be extended to new type of documents (e.g. legislative proposal, transcript) and to other scenarios (e.g., multilingual translation process). Akoma Ntoso also was explicitly designed to be compliant with CEN Metalex, one of the other popular legal standards, which is used in the legislation.gov.uk. In 2012, the Akoma Ntoso specifications became the main working base for the activities of the LegalDocML Technical Committee within the LegalXML member section of OASIS. The "United States Legislative Markup" (USLM) schema for the United States Code (the US codified laws), developed in 2013, and the LexML Brasil XML schema for Brazilian legislative and judiciary documents, developed before, in 2008, were both designed to be consistent with Akoma Ntoso. The United States Library of Congress created the Markup of US Legislation in Akoma Ntoso challenge in July 2013 to create representations of selected US bills using the most recent Akoma Ntoso standard within a couple months for a $5000 prize, and the Legislative XML Data Mapping challenge in September 2013 to produce a data map for US bill XML and UK bill XML to the most recent Akoma Ntoso schema within a couple months for a $10000 prize. The National Archives of UK converted all the legislation in AKN in 2014. The availability of bulk legislation "moved the UK's ranking from fourth to first, in the 2014 Global Open Data Index, for legislation". The Senate of Italian Republic provides, since July 2016, all the bills in Akoma Ntoso as bulk in open data repository. The German Federal Ministry of the Interior started the project Elektronische Gesetzgebung ("Electronic Legislation") in 2015/2016 and published Version 1.0 of the German application profile "LegalDocML.de" in March 2020. The projects aim is to digitalize the entire legislative lifecycle from drafting to publication. Germany decided to adopt a model-driven development approach to creating and providing a subschema-based application profile in order to ensure interoperability among organizationally independent actors, each with their respective IT landscapes and tools. In this initial version LegalDocML.de covers draft bills in the form of laws, regulations and general administrative directives. As part of an ongoing development process, the standard could incrementally be expanded in future stages to include all relevant document types of parliamentary, legislative and promulgation processes and tools. The High-Level Committee on Management (HLCM), part of the United Nations System Chief Executives Board for Coordination, set up a Working Group on Document Standards that approved in April 2017 to adopt Akoma Ntoso as standard for modeling its documentation. Akoma Ntoso in its version 1.0 is finally adopted as OASIS standard in the frame of LegalDocML in August 2018.

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  CogX Festival

  CogX Festival is a global festival focusing on the impact of artificial intelligence (AI) and emerging technology on industry, government, and society. It takes place annually, usually in September, in London, England. Founded by Charlie Muirhead and Tabitha Goldstaub in 2017, CogX aims to facilitate dialogue and understanding about AI and its implications across various sectors. CogX Festival 2023 was held from September 12 to September 14 across multiple sites in London. == History == The inaugural CogX event took place in 2017, intending to bring together experts from diverse fields to discuss the role and impact of AI and emerging technologies. Since then, it has evolved to include a broader range of topics and attract a diverse audience. In 2018, the first CogX Awards festival was hosted. That year, over 50 awards were shown to 300 guests. In 2021, CogX and Hopin, a video conferencing software, signed an agreement lasting 4 years to make CogX a hybrid conference due to the COVID-19 pandemic. CogX 2021 attracted over 5,000 attendees in-person and over 100,000 virtually. In 2022, they returned to a live event format after two years of hybrid events and controlled physical attendance. They also launched the CogX app, which curated insights from the world's top podcasts. In 2023, after he had delivered the keynote address guest speaker Stephen Fry fell off the stage and subsequently broke his leg, hip, pelvis and a "bunch of ribs". A court filing in 2026 revealed that Fry was seeking £100,000 in damages from CogX Festival Ltd and creative agency Blonstein Events. == Programming == The festival features sessions, discussions, workshops, and exhibitions, encompassing various domains of AI and technology. In recent CogX Festivals, they have featured summits encompassing topics like global leadership and industry transformation.

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  Process map

  Process map is a global-system process model that is used to outline the processes that make up the business system and how they interact with each other. Process map shows the processes as objects, which means it is a static and non-algorithmic view of the processes. It should be differentiated from a detailed process model, which shows a dynamic and algorithmic view of the processes, usually known as a process flow diagram. There are different notation standards that can be used for modelling process maps, but the most notable ones are TOGAF Event Diagram, Eriksson-Penker notation, and ARIS Value Added Chain. == Global process models == Global characteristics of the business system are captured by global or system models. Global process models are presented using different methodologies and sometimes under different names. Most notably, they are named process map in Visual Paradigm and MMABP, value-added chain in ARIS, and process diagram in Eriksson-Penker notation – which can easily lead to the confusion with process flow (detailed process model). Global models are mainly object-oriented and present a static view of the business system; they do not describe dynamic aspects of processes. A process map shows the presence of processes and their mutual relationships. The requirement for the global perspective of the system as a supplementary to the internal process logic description results from the necessity of taking into consideration not only the internal process logic but also its significant surroundings. The algorithmic process model cannot take the place of this perspective since it represents the system model of the process. The detailed process model and the global process model represent different perspectives on the same business system, so these models must be mutually consistent. A macro process map represents the major processes required to deliver a product or service to the customer. These macro process maps can be further detailed in sub-diagrams. It is often the case that process maps cross different functional areas of the organization. Process maps are used by many companies to have a holistic view of all processes and the connections between them. Maps help in navigating the sub-processes and make understanding of the organization's operations easier. The process map shows relationships and dependencies between processes and its focus should be on core business processes of the organization. A process map can be seen as the most abstract level of the process architecture, and it acts as the introduction to the more detailed levels. A process map that is correctly designed is able to provide a general understanding of a company's operations. Designing the process map is an important and strategic step for the organization, and it is followed by further business process modelling implementation. == Context == Methodology for Modelling and Analysis of Business Process (MMABP) is a business process modelling methodology developed at the Department of Information Technology, Faculty of Informatics and Statistics of the Prague University of Economics and Business. The methodology is defined as a “general methodology for modelling business systems using informatics methods and approaches”. Methodology is used to analyse business processes and to develop a comprehensive model of the system. The goal of developing a model is to be used for process optimization. The model should be created following the characteristics and specifics of the organization in question and following external influences that can affect the organization. The model should be optimal from an economic perspective, but it should also be optimal from a factual perspective, meaning that it should be as simple as possible while maintaining complete functionality. Business system modelling is based on a two-dimensional approach: Real World structure (substance) – set of objects and their relationships Real World behaviour – set of mutually connected business processes Additionally, there are also two views of the systems: Global view of the system Detailed view of the system's parts This results in the need to model the system from four different perspectives in order to achieve the complete and comprehensive view of the business system. MMABP also proposes which notation languages can be used for modelling each perspective, and it also suggests some improvements to the notation languages in order to fit the purpose. Global view of the objects – Conceptual model (Class diagram) Detailed view of the objects – Object life cycle (State Chart) Global view of the processes – Process map (Eriksson-Penker Diagram/TOGAF Event Diagram/ARIS VAC) Detailed view of the processes – Model of the process flow (BPMN Diagram) Data Flow Diagram (DFD) is additional diagram used for describing the required functionalities of the information system. == Notation standards == === Eriksson-Penker Diagram === Eriksson-Penker diagram is a tool used in business model analysis and design. It is named after Hans-Erik Eriksson and Magnus Penker, who developed the concept in their book "Business modelling with UML: Business Patterns at Work”. Eriksson-Penker diagrams are used to map out the key components of a business model and how they interact with one another. The diagrams typically consist of a series of boxes and lines that represent the different elements of the business model, such as the value proposition, customer segments, channels, revenue streams, and key resources. The lines between the boxes represent the relationships and dependencies between the different elements of the business model. These diagrams are useful for visualizing and understanding the various components of a business model, and can help organizations identify potential areas for improvement or areas of risk. They can also be used as a communication tool to help stakeholders understand the business model and its underlying assumptions. These diagrams are useful for visualizing and understanding the various components of a business model, and can help organizations identify potential areas for improvement or areas of risk. They can also be used as a communication tool to help stakeholders understand the business model and its underlying assumptions. It is possible to use Eriksson-Penker diagrams to create a global process view of a business. In this case, a diagram would be used to map out the key processes and activities that are involved in the business, as well as the relationships and dependencies between these processes. For example, an Eriksson-Penker diagram could be used to depict the various steps involved in the product development process, from concept development to market launch. It could also be used to show how different functions within the organization, such as marketing, sales, and production, interact and depend on one another to support the overall business. Eriksson-Penker diagram is one of the most popular de facto standards that can be used for an object-oriented global view of business processes. It is developed as an extension of the UML, and it is often used together with the BPMN to compensate for the lack of possibility to model the global view with this widely accepted standard. === TOGAF Event Diagram === TOGAF (The Open Group Architecture Framework) is a framework for enterprise architecture that provides a common language and set of standards for designing, planning, implementing, and governing an enterprise's IT architecture. TOGAF event diagrams are diagrams used in the TOGAF framework to represent the flow of events within a system or process. The TOGAF Event Diagram is a visual representation of the events within an organization or system. It can be used to show the sequence of events that occur in a particular process, as well as the relationships between the events and the stakeholders involved. TOGAF Event Diagrams can be useful in creating a global process view because they provide a visual representation of the events, which can be helpful in understanding how the process fits into the larger context of the organization. TOGAF Event Diagram is the most perspective standard for the system view of processes today. It is used to represent the system of processes as well as their connections to the functional organizational structure. === ARIS Value Added Chain === ARIS (Architecture of Integrated Information Systems) is a methodology and a set of tools for designing and managing business processes. It is based on the idea that business processes are the core of an organization and that they can be modelled and optimized to improve efficiency and effectiveness. The ARIS methodology provides a framework for understanding and analysing business processes, as well as for designing and implementing improvements to those processes. It includes a set of graphical modelling languages and tools for creating process models, as well as a database for storing and managing pr

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  Loab

  Loab ( LOBE) is a fictional character that artist and writer Steph Maj Swanson claimed to have discovered with a text-to-image AI model in April 2022. In a viral Twitter thread, Swanson described the images of Loab as an unexpectedly emergent property of the software, saying they discovered them when asking the model to produce something "as different from the prompt as possible". == History == The Sweden-based artist Steph Maj Swanson said that they first generated these images in April 2022 by using the algorithmic technique of "negative prompt weights" accessing latent space. The initial prompt - 'Brando::-1', requesting the opposite of actor Marlon Brando - generated a "skyline logo" with the cryptic lettering "DIGITA PNTICS". Attempting to generate the opposite of this image using the prompt "DIGITA PNTICS skyline logo::-1" yielded what Swanson described as "off-putting images, all of the same devastated-looking older woman with defined triangles of rosacea(?) on her cheeks". Swanson nicknamed the character "Loab", after one of the generated images resembled an album cover that included the printed word "loab". Swanson says that using the image as a prompt for further images produced increasingly violent and gory results. Swanson speculated that something about the image could be "adjacent to extremely gory and macabre imagery in the distribution of the AI's world knowledge". Swanson says that when they combined images of Loab with other pictures, the subsequent results consistently return an image including Loab, regardless of how much distortion they added to the prompts to try and remove her visage. Swanson speculated that the latent space region of the AI map that Loab is located in, in addition to being near gruesome imagery, must be isolated enough that any combinations with other images could only use Loab from her area and no related images due to its isolation. After enough crossbreeding of images and dilution attempts, Swanson was able to eventually generate images without Loab, but found that crossbreeding those diluted images would also eventually lead to a version of Loab to reappear in the resulting images. Swanson has said that "for various reasons" they declined to disclose the software used to create the images. Loab has been referred to as the "first AI-generated cryptid" and as such has gone viral. Despite hyping up the cryptid nature of the discovery in their wording, Swanson admitted that "Loab isn't really haunted, of course", but noted that the mythos that has sprung up around the AI-generated character has gone beyond their initial involvement. Swanson speculated that people sharing pictures and memes of Loab would lead future AIs to use those images as a part of their latent space maps, making her an innate part of the internet landscape, with Swanson adding "If we want to get rid of her, it's already too late." == Response == There has been discussion of whether the Loab series of images are "a legitimate quirk of AI art software, or a cleverly disguised creepypasta." Smithsonian magazine has written that "Loab sparked some lengthy ethical conversations around visual aesthetics, art and technology," and some have criticized the labeling of a woman with rosacea as a horror image, considering this to be "stigmatizing disability". Swanson responded that if the AI map is combining Loab with violent imagery, then that is a "social bias" in the data being used for the image modeling software. The Atlantic writer Stephen Marche described Loab as a "form of expression that has never existed before" whose authorship is unclear and that exists as an "emanation of the collective imagistic heritage, the unconscious visual mind". Laurens Verhagen in de Volkskrant commented that rather than showing that there are "dark horror creatures hidden deep within AI", the existence of Loab instead implies that our current "understanding of AI is limited". Mhairi Aitken at the Alan Turing Institute stated that rather than a "creepy" emergent property, output results like Loab were representative of the "limitations of AI image-generator models" and was more concerned about the urban legends that are born from such "boring" innocuous things and how easily "other people take these things seriously". Carly Cassella for ScienceAlert described Loab as a "modern day tronie" (a style of Dutch painting) that is not representative of an actual person, but just a concept or idea, similar but distinct from works like the Girl With A Pearl Earring. Wired's Joel Warner argued that Loab was only the beginning and that, with AI text generators such as ChatGPT becoming more commonplace, a "linguistic version of Loab" would emerge in that space as well and begin creating ideas through "intentional prompts" or otherwise that will be as disturbing as The 120 Days of Sodom.

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  Legal Knowledge Interchange Format

  The Legal Knowledge Interchange Format (LKIF) was developed in the European ESTRELLA project and was designed with the goal of becoming a standard for representing and interchanging policy, legislation and cases, including their justificatory arguments, in the legal domain. LKIF builds on and uses the Web Ontology Language (OWL) for representing concepts and includes a reusable basic ontology of legal concepts. The core of LKIF consists of a combination of OWL-DL and SWRL. LKIF was designed with two main roles in mind: the translation of legal knowledge bases written in different representation formats and formalisms and to be a knowledge representation formalism which could be part of larger architectures for developing legal knowledge systems.

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