AI Code Ui

AI Code Ui — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Digital on-screen graphic

    Digital on-screen graphic

    A digital on-screen graphic, digitally originated graphic (DOG, bug, network bug, on-screen bug or screenbug) is a watermark-like station logo that most television broadcasters overlay over a portion of the screen area of their programs to identify the channel. They are thus a form of permanent visual station identification, increasing brand recognition and asserting ownership of the video signal. The graphic identifies the source of programming, even if it has been time-shifted or recorded. Many of these technologies allow viewers to skip or omit traditional between-programming station identification; thus the use of a DOG enables the station or network to enforce brand identification even when standard commercials are skipped. DOG watermarking helps to reduce off-the-air copyright infringement—for example, the distribution of a current series' episodes on DVD: the watermarked content is easily differentiated from "official" DVD releases, and can help identify not only the station from which the broadcast was captured, but usually the actual date of the broadcast as well. Graphics may be used to identify if the correct subscription is being used for a type of venue. For example, showing Sky Sports within a pub in the United Kingdom requires a more expensive subscription; a channel authorized under this subscription adds a pint glass graphic to the bottom of the screen for inspectors to see. The graphic changes at certain times, making it harder to counterfeit. On the other hand, watermarks pollute the picture, distract viewers' attention and may cover an important piece of information presented in the television program. Extremely bright watermarks may cause screen burn-in or image persistence on some types of television sets such as the now mostly discontinued and rarely used plasma and CRT displays, and currently commonly used OLED and LCD displays. Usage of visually perceptible embedded watermarks requires the program author to have a separate clean copy for archival purposes, but this practice was not common decades ago when watermarking became popular among broadcasters. Watermarks present an issue when archival videos are used for a documentary that strives to create a coherent story. In some cases, watermarks are blurred or digitally removed if possible to clean up the picture. In the absence of visually perceptible watermarks, content control can be ensured with visually imperceptible digital watermarks. In some cases, the graphic also shows the name of the current program. Some television networks may place additional logos or text alongside their DOG to advertise significant upcoming programs. For example, broadcasters of the Olympic Games (most notably United States broadcaster NBC) often add the Olympic rings to their DOG for a period of time leading up to and during the Games. == Usage == == Connections with sponsor tags == Another graphic on television usually connected with sports (particularly in North America, though not in Europe) is the sponsor tag. It shows the logos of certain sponsors, accompanied by some background relevant to the game, the network logo, announcement and music of some kind. == Usage in ham radio and television == In most countries, the ham station is required to periodically identify their amateur-television transmission. Such stations frequently overlay their callsign on the signal instead of placing a card in the background. Most hams use homebuilt devices or old consumer character generators to generate such identifications rather than using graphical superimposes of high cost to do so. Only rarely one can see real graphics, as the callsign is usually written in the "OSD font". == Live DOGs by hobbyists == One of the easiest and most sought-after devices used to generate DOGs by hobbyists is the 1980s vintage Sony XV-T500 video superimposer. This device can luma-key a signal, capture a still frame into memory and then overlay the keyed graphic in one of eight colors onto any CVBS signal. Another method commonly used by hobbyists and even low-budgeted television stations was Amiga computers with genlock interfaces.

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  • No Fakes Act

    No Fakes Act

    The NO FAKES Act or the Nurture Originals, Foster Art, and Keep Entertainment Safe Act, is proposed United States federal legislation concerning digital replicas. The bill was first introduced in 2023 as a discussion draft, formally introduced in 2024, and reintroduced in 2025. If enacted, the bill would establish a federal right of publicity, giving public figures and private individuals greater control over the creation and use of digital replicas of their likenesses, including artificial intelligence (AI)-generated content. If passed, the NO FAKES Act would create a legal framework for licensing digital replicas, including provisions for liability, safe harbors, and statutory exceptions. The proposal has received broad support from the entertainment and technology industries. However, digital rights organizations have raised concerns that the Act risks chilling protected speech. == Background == === Entertainment industry concerns === Actors’ concerns over studios' use of their digital likeness were one of the primary drivers of the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) strike in 2023. Negotiators for SAG-AFTRA alleged that the Alliance of Motion Picture and Television Producers (AMPTP) sought to use the digital likenesses of actors in perpetuity and would try to replace union members, especially background actors. The AMPTP denied SAG-AFTRA's interpretation of its proposal. In November 2023, AMPTP and SAG-AFTRA reached an agreement on the use of actors’ digital replicas, which included requirements for consent and compensation. Recording labels have also expressed concerns over unauthorized digital replicas of their performers' likeness. In 2023, TikTok user Ghostwriter977 released "Heart on My Sleeve," an AI-produced song in the styles of Drake and the Weeknd. After the song received millions of streams, the Universal Music Group (UMG) initiated takedown requests to TikTok and YouTube, which removed the song from their platforms. The legal arguments attorneys made were not disclosed; however, commentators noted that they likely used the Digital Millennium Copyright Act (DMCA). This presented a novel scenario, since UMG did not have licensing rights to "Heart on My Sleeve." According to The Verge, UMG based its DMCA takedown request on an unauthorized sample used at the start of the song for the producer tag. While legal commentators noted that UMG could have asserted a violation of the artists’ rights of publicity, existing state right of publicity laws do not provide notice-and-takedown mechanisms comparable to those under the DMCA. === Legal landscape === Legal scholars have observed that AI-generated digital replicas raise questions under existing copyright and intellectual property law. U.S. copyright law generally requires that original authorship be attributable to a human; however, the extent of human intervention needed to satisfy this requirement is not clear. Copyright holders have filed lawsuits against AI companies alleging unauthorized usage of copyrighted material to train their models, though many of these cases remain pending. In terms of outputs, record labels often hold rights to artists’ musical works but do not necessarily control the artists’ voice, appearance, or likeness in the same way. As a result, AI-generated recordings such as "Heart on My Sleeve" may fall outside the scope of certain traditional copyright protections. Individuals' likenesses have historically been governed under the Lanham Act, the Federal Trade Commission Act, and right of publicity laws. The right of publicity, recognized in many state-level statutes and common law, allows individuals to bring legal claims against unauthorized commercial use of their identities. It has often, but not exclusively, been applied to celebrities or other recognizable individuals. There is no federal-level right to publicity, and state-level protections vary, especially on issues relating to digital replicas and posthumous rights, which makes it difficult for creators or other individuals to prevent unauthorized use of their likenesses. In July 2024, the U.S. Copyright Office released a report on digital replicas and recommended that Congress create a federal law to protect individuals from unauthorized uses of their digital replicas, noting the inadequacy, narrowness, and inconsistency of existing laws. == Provisions == Under the NO FAKES Act of 2025, a digital replica is defined as "a newly created, computer-generated, highly realistic electronic representation that is readily identifiable as the voice or visual likeness of an individual," living or dead. A digital replica can be embodied in sound recordings, images, or audiovisual works in which the individual did not perform or in which the individual did perform but the "fundamental character of the performance or appearance has been materially altered." The Act specifies that digital replicas do not include reproduced samples of works authorized by the copyright holder. The Act defines a "right holder" as either the individual who is the subject of a digital replica or an entity that has acquired the rights to that individual’s likeness. The Act grants right holders the exclusive right to authorize the use of an individual’s likeness in a digital replica. This right is not assignable during the individual’s lifetime; however, it can be licensed to a living individual for up to 10 years under certain conditions. Postmortem rights The Act provides that the right does not automatically expire upon an individual’s death. It may be transferred to executors, heirs, or other parties designated by the individual. The right is held by the right holder for 10 years following the individual’s death. If the right holder demonstrates active use of the digital replica within the 2 years preceding the end of the 10-year term, the right may be extended for an additional 5-year period. These five-year extensions may be renewed for up to 70 years after the individual’s death. Liability The Act establishes liability for individuals who knowingly distribute a digital replica without authorization from the right holder, as well as for entities that make available a service primarily designed to produce unlawful digital replicas. Safe harbor provisions Similar to the Communications Decency Act and the DMCA, the Act establishes safe harbor provisions for online service providers. Providers are shielded from liability if they adopt and inform users of a policy for terminating accounts that repeatedly violate the Act. The NO FAKES Act does not require online services to proactively monitor content. Instead, it creates a notice-and-takedown mechanism under which providers must promptly respond to notifications seeking the removal of unauthorized digital replicas. These safe harbor protections apply only if the online service provider designates an agent with the U.S. Copyright Office to receive notifications of alleged violations. Remedies The NO FAKES Act provides remedies that are similar to those available under U.S. copyright law. Under the Act, individuals may be held liable for either statutory damages of $5,000 or actual damages for creating or distributing an unauthorized digital replica. The legislation also establishes a tiered liability framework for online service providers. Those that make good faith efforts to comply with the Act may face statutory damages of up to $25,000 per work for violations or actual damages. Providers that do not undertake such compliance efforts may be liable for $5,000 per unauthorized display or transmission of a digital replica, with damages capped at $750,000 per work. Exclusions The Act includes several exceptions to liability that are modeled in part on fair use principles. Digital replicas are excluded from liability when "used in a bona fide news, public affairs, or sports broadcast or account;" in a documentary or historical context; or in a way that is "consistent with the public interest." These exclusions do not apply to de minimis uses or to digital replicas that are sexually explicit in nature. The Act further states that licensing requirements do not apply to licenses established through collective bargaining agreements that contain provisions governing the use of digital replicas. The Act does not impose secondary liability on providers of generative artificial intelligence tools or services whose primary purpose is not the creation of unauthorized digital replicas. Preemption The NO FAKES Act preempts laws that protect "an individual's voice and visual likeness rights in connection with a digital replica, as defined in this Act, in an expressive work." However, the Act preserves state laws governing digital replicas enacted before January 2, 2025, as well as state laws addressing digital replicas that portray sexually explicit conduct. == History == In 2023, Senators Marsha Blackburn, Chris Coons, Amy Klobuchar, and Th

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  • Procedural reasoning system

    Procedural reasoning system

    In artificial intelligence, a procedural reasoning system (PRS) is a framework for constructing real-time reasoning systems that can perform complex tasks in dynamic environments. It is based on the notion of a rational agent or intelligent agent using the belief–desire–intention software model. A user application is predominately defined, and provided to a PRS system is a set of knowledge areas. Each knowledge area is a piece of procedural knowledge that specifies how to do something, e.g., how to navigate down a corridor, or how to plan a path (in contrast with robotic architectures where the programmer just provides a model of what the states of the world are and how the agent's primitive actions affect them). Such a program, together with a PRS interpreter, is used to control the agent. The interpreter is responsible for maintaining beliefs about the world state, choosing which goals to attempt to achieve next, and choosing which knowledge area to apply in the current situation. How exactly these operations are performed might depend on domain-specific meta-level knowledge areas. Unlike traditional AI planning systems that generate a complete plan at the beginning, and replan if unexpected things happen, PRS interleaves planning and doing actions in the world. At any point, the system might only have a partially specified plan for the future. PRS is based on the BDI or belief–desire–intention framework for intelligent agents. Beliefs consist of what the agent believes to be true about the current state of the world, desires consist of the agent's goals, and intentions consist of the agent's current plans for achieving those goals. Furthermore, each of these three components is typically explicitly represented somewhere within the memory of the PRS agent at runtime, which is in contrast to purely reactive systems, such as the subsumption architecture. == History == The PRS concept was developed by the Artificial Intelligence Center at SRI International during the 1980s, by many workers including Michael Georgeff, Amy L. Lansky, and François Félix Ingrand. Their framework was responsible for exploiting and popularizing the BDI model in software for control of an intelligent agent. The seminal application of the framework was a fault detection system for the reaction control system of the NASA Space Shuttle Discovery. Development on this PRS continued at the Australian Artificial Intelligence Institute through to the late 1990s, which led to the development of a C++ implementation and extension called dMARS. == Architecture == The system architecture of SRI's PRS includes the following components: Database for beliefs about the world, represented using first order predicate calculus. Goals to be realized by the system as conditions over an interval of time on internal and external state descriptions (desires). Knowledge areas (KAs) or plans that define sequences of low-level actions toward achieving a goal in specific situations. Intentions that include those KAs that have been selected for current and eventual execution. Interpreter or inference mechanism that manages the system. == Features == SRI's PRS was developed for embedded application in dynamic and real-time environments. As such it specifically addressed the limitations of other contemporary control and reasoning architectures like expert systems and the blackboard system. The following define the general requirements for the development of their PRS: asynchronous event handling guaranteed reaction and response types procedural representation of knowledge handling of multiple problems reactive and goal-directed behavior focus of attention reflective reasoning capabilities continuous embedded operation handling of incomplete or inaccurate data handling of transients modeling delayed feedback operator control == Applications == The seminal application of SRI's PRS was a monitoring and fault detection system for the reaction control system (RCS) on the NASA space shuttle. The RCS provides propulsive forces from a collection of jet thrusters and controls altitude of the space shuttle. A PRS-based fault diagnostic system was developed and tested using a simulator. It included over 100 KAs and over 25 meta level KAs. RCS specific KAs were written by space shuttle mission controllers. It was implemented on the Symbolics 3600 Series LISP machine and used multiple communicating instances of PRS. The system maintained over 1000 facts about the RCS, over 650 facts for the forward RCS alone and half of which are updated continuously during the mission. A version of the PRS was used to monitor the reaction control system on the Space Shuttle Discovery. PRS was tested on Shakey the robot including navigational and simulated jet malfunction scenarios based on the space shuttle. Later applications included a network management monitor called the Interactive Real-time Telecommunications Network Management System (IRTNMS) for Telecom Australia. == Extensions == The following list the major implementations and extensions of the PRS architecture. UM-PRS OpenPRS (formerly C-PRS and Propice) AgentSpeak Distributed multi-agent reasoning system (dMARS) GORITE JAM JACK Intelligent Agents SRI Procedural Agent Realization Kit (SPARK) PRS-CL

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  • Lukas Biewald

    Lukas Biewald

    Lukas Biewald (born 1981) is an American entrepreneur and a prominent figure in artificial intelligence. He is recognized for his contributions to machine learning and as the CEO and co-founder of Weights & Biases, a company that builds developer tools for AI, that sold to CoreWeave in 2025 for $1.7B. He previously founded and was CEO of Figure Eight, a human-in-the-loop machine learning platform. He has co-authored 26 AI research papers from 2004 through 2018. == Early life and education == Biewald was born in Boston, Massachusetts in 1981. He attended Cambridge Rindge and Latin School and later earned both a Bachelor's and Master's degree in Computer science from Stanford University. == Early Career and Founding Figure Eight == After graduation, Biewald joined Yahoo! as an engineer, working on machine translations to improve search results, and eventually led the Search Relevance Team for Yahoo! Japan. He later joined Powerset, a natural language search technology company, as their Senior Scientist, which was acquired by Microsoft in 2008 for an estimated $100M. In 2007, Biewald co-founded Figure Eight (formerly CrowdFlower), a data labeling and crowdsourcing company that created datasets for training machine learning models. Figure Eight was acquired by Appen in 2019 for $300 million. == Weights and Biases == In 2017, Biewald co-founded Weights & Biases with Chris Van Pelt and Shawn Lewis. The company provides tools for tracking machine learning experiments, model management, and collaborative AI and LLM app development. The platform has been adopted by organizations such as OpenAI, Salesforce, and Microsoft. In March 2025 Coreweave acquired Weights and Biases at $1.7 billion, with the transaction closing on May 5, 2025. == Gradient Dissent == Biewald hosts the bi-weekly podcast Gradient Dissent. Guest have included: Anthony Goldbloom – Co-founder & CEO of Kaggle. “How to Win Kaggle Competitions” (podcast, Sep. 9, 2020). Shared tips on data-science competitions from the founder of the largest ML community. Richard Socher – Founder & CEO of You.com; former Chief Scientist at Salesforce. “The Challenges of Making ML Work in the Real World” (podcast, September 28, 2020). A leading NLP researcher, he spoke on multimodal search engines powered by large language models. Jensen Huang – Founder & CEO of NVIDIA. “NVIDIA’s CEO on the Next Generation of AI and MLOps” (podcast, March 3, 2022). Huang’s GPUs power modern ML research and production. Emad Mostaque – Co-founder & CEO of Stability AI. “Stable Diffusion, Stability AI, and What’s Next” (podcast, Nov. 15, 2022). Leads the company behind Stable Diffusion, which helped spark the generative-AI imaging boom. Drago Anguelov – Head of Research at Waymo. “Robustness, Safety, and Scalability at Waymo” (podcast, July 14, 2022). Covered Waymo’s self-driving AI advances and deployment challenges. Jeremy Howard – Co-founder of fast.ai. “The Simple but Profound Insight Behind Diffusion” (podcast, Jan. 5, 2023). Known for democratizing deep-learning education; discussed diffusion models and accessible AI tooling. Aidan Gomez – Co-founder & CEO of Cohere. “Scaling LLMs and Accelerating Adoption” (podcast, April 20, 2023). Co-author of “Attention Is All You Need,” he shared how Cohere delivers large-scale NLP models as a service. Chelsea Finn – Stanford Assistant Professor (AI & Robotics). “Shaping the World of Robotics with Chelsea Finn” (podcast, February 15, 2024). A pioneer in meta-learning and robotics, she detailed robots learning complex tasks like cooking. Andrew Feldman – Co-founder & CEO of Cerebras Systems. "Launching the Fastest AI Inference Solution" (podcast, August 27, 2024). Described wafer-scale AI chips achieving new training performance records. Thomas Dohmke – CEO of GitHub. “GitHub CEO on Copilot and the Future of Software Development” (podcast, June 10, 2025). Discussed building Copilot and the future of AI-assisted coding. Martin Shkreli – Founder of Godel Terminal. “From Pharma to AGI Hype, and Developing AI in Finance: Martin Shkreli’s Journey” (podcast, May 20, 2025). Shkreli reflects on his pharma controversies, prison experience, and his new AI-driven trading platform. Jarek Kutylowski – Founder & CEO of DeepL. “How DeepL Built a Translation Powerhouse with AI” (podcast, July 8, 2025). Shared how DeepL’s neural-MT rivals Google Translate through model and infrastructure innovation. == Awards and recognition == In 2010, Lukas Biewald won the Netexplorateur Award for creating the GiveWork iPhone app, which allows users to perform small tasks that assist refugees and people in developing countries. In 2010, Inc Magazine included Biewald and Van Pelt on its list of the Top 30 Entrepreneurs Under 30. == Publications == Ensuring quality in crowdsourced search relevance evaluation: The effects of training question distribution by John Le, Andy Edmonds, Vaughn Hester, Lukas Biewald. SIGIR 2010 Workshop on Crowdsourcing for Search Evaluation, July 2010. Superficial Data Analysis: Exploring Millions of Social Stereotypes by Lukas Biewald, Brendan O’Connor. O’Reilly July 2009 Biewald has co-authored 26 AI research papers from 2004 through 2018.

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  • Sarpa (snakebite app)

    Sarpa (snakebite app)

    Sarpa or SARPA (Snake Awareness, Rescue and Protection app) is a snakebite app, an application for mobile devices developed in India to provide rapid, life-saving help for victims of snakebite, which kill an estimated 58,000 people a year in India. The app provides information about snakes, gets fast aid for people bitten, and helps in the development of antivenoms. Similar systems developed in India include SnakeHub, Snake Lens, Snakepedia, Serpent and the Big Four Mapping Project. The apps provide rapid response to snakebite incidents, often in remote areas, using a network of volunteers managed by local wildlife departments; their use can save human lives by providing rapid medical care, and also snakes, by helping to avoid interaction between the species. In 2026, it was announced that the app had plans to offer real-time contact from doctors directly from the app to provide users with decision-making advice.

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  • OpenVINO

    OpenVINO

    OpenVINO is an open-source software toolkit developed by Intel for optimizing and deploying deep learning models. It supports several popular model formats and categories, such as large language models, computer vision, and generative AI. OpenVINO is optimized for Intel hardware, but offers support for ARM/ARM64 processors. It sees great use in AI Sound Processing drivers when tied with Intel's Gaussian & Neural Accelerator (GNA). Based in C++, it extends API support for C and Python, as well as Node.js (in early preview). OpenVINO is cross-platform and free for use under Apache License 2.0. == Workflow == The simplest OpenVINO usage involves obtaining a model and running it as is. Yet for the best results, a more complete workflow is suggested: obtain a model in one of supported frameworks, convert the model to OpenVINO IR using the OpenVINO Converter tool, optimize the model, using training-time or post-training options provided by OpenVINO's NNCF. execute inference, using OpenVINO Runtime by specifying one of several inference modes. == OpenVINO model format == OpenVINO IR is the default format used to run inference. It is saved as a set of two files, .bin and .xml, containing weights and topology, respectively. It is obtained by converting a model from one of the supported frameworks, using the application's API or a dedicated converter. Models of the supported formats may also be used for inference directly, without prior conversion to OpenVINO IR. Such an approach is more convenient but offers fewer optimization options and lower performance, since the conversion is performed automatically before inference. Some pre-converted models can be found in the Hugging Face repository. The supported model formats are: PyTorch TensorFlow TensorFlow Lite ONNX (including formats that may be serialized to ONNX) PaddlePaddle JAX/Flax == OS support == OpenVINO runs on Windows, Linux and MacOS.

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  • Open Neural Network Exchange

    Open Neural Network Exchange

    The Open Neural Network Exchange (ONNX) [ˈɒnɪks] is an open-source artificial intelligence ecosystem of technology companies and research organizations that establish open standards for representing machine learning algorithms and software tools to enable a standard format for representing machine learning models. ONNX is available on GitHub. == History == ONNX was originally named Toffee and was developed by the PyTorch team at Facebook. In September 2017 it was renamed to ONNX and announced by Facebook and Microsoft. Later, IBM, Huawei, Intel, AMD, Arm and Qualcomm announced support for the initiative. In October 2017, Microsoft announced that it would add its Cognitive Toolkit and Project Brainwave platform to the initiative. In November 2019 ONNX was accepted as graduate project in Linux Foundation AI. In October 2020 Zetane Systems became a member of the ONNX ecosystem. == Intent == The initiative targets: === Framework interoperability === Enable developers to move machine learning models between different frameworks, which may be used at different stages of the development process, such as training, architecture design, or deployment on mobile devices. === Shared optimization === Provide a common representation that can be used by hardware vendors and other developers to apply optimizations to artificial neural network models across multiple machine learning frameworks. == Contents == ONNX provides definitions of an extensible computation graph model, built-in operators and standard data types, focused on inferencing (evaluation).. The container format is Protocol Buffers. Each computation dataflow graph is a list of nodes that form an acyclic graph. Nodes have inputs and outputs. Each node is a call to an operator. Metadata documents the graph. Built-in operators are to be available on each ONNX-supporting framework. ONNX models can be trained in a single framework, such as PyTorch or TensorFlow, and then exported to ONNX. This format allows models to be transferred from the training framework to other environments for testing or deployment. Once a model is in ONNX format, it can be executed in different runtime systems or on various hardware platforms, such as GPUs or specialized AI accelerators. Using a common format enables the same model representation to be used across multiple systems and frameworks.

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  • Mistral AI

    Mistral AI

    Mistral AI SAS (French: [mistʁal]) is a French artificial intelligence (AI) company, headquartered in Paris. Founded in 2023, it has open-weight large language models (LLMs), with both open-source and proprietary AI models. As of 2025 the company has a valuation of more than US$14 billion. == Namesake == The company is named after the mistral, a powerful, cold wind in southern France, a term which originates from the Occitan language. == History == Mistral AI was established in April 2023 by three French AI researchers, Arthur Mensch, Guillaume Lample and Timothée Lacroix. Mensch, an expert in advanced AI systems, is a former employee of Google DeepMind; Lample and Lacroix, meanwhile, are large-scale AI models specialists who had worked for Meta Platforms. The trio originally met during their studies at École Polytechnique. == Company operation == === Funding === In June 2023, the start-up carried out a first fundraising of €105 million ($117 million) with investors including the American fund Lightspeed Venture Partners, Eric Schmidt, Xavier Niel and JCDecaux. The valuation was then estimated by the Financial Times at €240 million ($267 million). On 10 December 2023, Mistral AI announced that it had raised €385 million ($428 million) as part of its second fundraising. This round of financing involves the Californian fund Andreessen Horowitz, BNP Paribas and the software publisher Salesforce. It was valued at over €2 billion. On 26 February 2024, Microsoft announced an investment of $16 million in Mistral AI. On 16 April 2024, reporting revealed that Mistral was in talks to raise €500 million, a deal that would more than double its current valuation to at least €5 billion. In June 2024, Mistral AI secured a €600 million ($645 million) funding round, increasing its valuation to €5.8 billion ($6.2 billion). Based on valuation, as of June 2024, the company was ranked fourth globally in the AI industry, and first outside the San Francisco Bay Area. In April 2025, Mistral AI announced a €100 million partnership with the shipping company CMA CGM. In August 2025, the Financial Times reported that Mistral was in talks to raise $1 billion at a $10 billion valuation. In September 2025, Bloomberg announced that Mistral AI has secured a €2 billion investment valuing it at €12 billion ($14 billion). This comes after $1.5 billion investment from Dutch company ASML, which owns 11% of Mistral. In February 2026, Mistral acquired Koyeb, a Paris-based AI startup. Later that month, Mistral AI announced a multi-year strategic partnership with Accenture to help enterprises deploy sovereign AI solutions at scale. In March 2026 Mistral raised $830 million in order to build new datacenters near Paris and in Sweden. == Services == On 19 November, 2024, the company announced updates for Le Chat (pronounced /lə ʃa/ in French, like the French word for "cat"). It added the ability to create images, using Black Forest Labs' Flux Pro model. On 6 February 2025, Mistral AI released Le Chat on iOS and Android mobile devices. Mistral AI also introduced a Pro subscription tier, priced at $14.99 per month, which provides access to more advanced models, unlimited messaging, and web browsing. At the end of May 2026, Le Chat was renamed Vibe, and new features were introduced at the same time. == Models == The following table lists the main model versions of Mistral, describing the significant changes included with each version: === Mistral 7B === Mistral AI claimed in the Mistral 7B release blog post that the model outperforms LLaMA 2 13B on all benchmarks tested, and is on par with LLaMA 34B on many benchmarks tested, despite having only 7 billion parameters, a small size compared to its competitors. === Mixtral 8x7B === Mistral AI claimed in 2023 that its model beat both LLaMA 70B, and GPT-3.5 in most benchmarks. In March 2024, research conducted by Patronus AI comparing performance of LLMs on a 100-question test with prompts to generate text from books protected under U.S. copyright law found that OpenAI's GPT-4, Mixtral, Meta AI's LLaMA-2, and Anthropic's Claude 2 generated copyrighted text verbatim in 44%, 22%, 10%, and 8% of responses respectively. === Mistral Small 3.1 === On 17 March 2025, Mistral released Mistral Small 3.1 as a smaller, more efficient model. === Mistral Medium 3 === On 7 May 2025, Mistral AI released Mistral Medium 3. === Magistral Small and Magistral Medium === On 10 June 2025, Mistral AI released their first AI reasoning models: Magistral Small (open-source), and Magistral Medium, models which are purported to have chain-of-thought capabilities. === Mistral Large 3 and Ministral 3 === On 2 December 2025, Mistral AI released Mistral Large 3, a sparse, mixture-of-experts model with 41 billion active parameters and 675 billion total parameters, and Ministral 3, three small, dense models with 3 billion, 7 billion and 14 billion parameters. === Devstral 2 and Devstral Small 2 === On 10 December 2025, Mistral AI released Devstral 2 and Devstral Small 2. Devstral Small 2, a 24B parameter model is claimed to achieve better performance at coding than Qwen 3 Coder Flash model which is a 30B parameter model.

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  • Feature hashing

    Feature hashing

    In machine learning, feature hashing, also known as the hashing trick (by analogy to the kernel trick), is a fast and space-efficient way of vectorizing features, i.e. turning arbitrary features into indices in a vector or matrix. It works by applying a hash function to the features and using their hash values as indices directly (after a modulo operation), rather than looking the indices up in an associative array. In addition to its use for encoding non-numeric values, feature hashing can also be used for dimensionality reduction. This trick is often attributed to Weinberger et al. (2009), but there exists a much earlier description of this method published by John Moody in 1989. == Motivation == === Motivating example === In a typical document classification task, the input to the machine learning algorithm (both during learning and classification) is free text. From this, a bag of words (BOW) representation is constructed: the individual tokens are extracted and counted, and each distinct token in the training set defines a feature (independent variable) of each of the documents in both the training and test sets. Machine learning algorithms, however, are typically defined in terms of numerical vectors. Therefore, the bags of words for a set of documents is regarded as a term-document matrix where each row is a single document, and each column is a single feature/word; the entry i, j in such a matrix captures the frequency (or weight) of the j'th term of the vocabulary in document i. (An alternative convention swaps the rows and columns of the matrix, but this difference is immaterial.) Typically, these vectors are extremely sparse—according to Zipf's law. The common approach is to construct, at learning time or prior to that, a dictionary representation of the vocabulary of the training set, and use that to map words to indices. Hash tables and tries are common candidates for dictionary implementation. E.g., the three documents John likes to watch movies. Mary likes movies too. John also likes football. can be converted, using the dictionary to the term-document matrix ( John likes to watch movies Mary too also football 1 1 1 1 1 0 0 0 0 0 1 0 0 1 1 1 0 0 1 1 0 0 0 0 0 1 1 ) {\displaystyle {\begin{pmatrix}{\textrm {John}}&{\textrm {likes}}&{\textrm {to}}&{\textrm {watch}}&{\textrm {movies}}&{\textrm {Mary}}&{\textrm {too}}&{\textrm {also}}&{\textrm {football}}\\1&1&1&1&1&0&0&0&0\\0&1&0&0&1&1&1&0&0\\1&1&0&0&0&0&0&1&1\end{pmatrix}}} (Punctuation was removed, as is usual in document classification and clustering.) The problem with this process is that such dictionaries take up a large amount of storage space and grow in size as the training set grows. On the contrary, if the vocabulary is kept fixed and not increased with a growing training set, an adversary may try to invent new words or misspellings that are not in the stored vocabulary so as to circumvent a machine learned filter. To address this challenge, Yahoo! Research attempted to use feature hashing for their spam filters. Note that the hashing trick isn't limited to text classification and similar tasks at the document level, but can be applied to any problem that involves large (perhaps unbounded) numbers of features. === Mathematical motivation === Mathematically, a token is an element t {\displaystyle t} in a finite (or countably infinite) set T {\displaystyle T} . Suppose we only need to process a finite corpus, then we can put all tokens appearing in the corpus into T {\displaystyle T} , meaning that T {\displaystyle T} is finite. However, suppose we want to process all possible words made of the English letters, then T {\displaystyle T} is countably infinite. Most neural networks can only operate on real vector inputs, so we must construct a "dictionary" function ϕ : T → R n {\displaystyle \phi :T\to \mathbb {R} ^{n}} . When T {\displaystyle T} is finite, of size | T | = m ≤ n {\displaystyle |T|=m\leq n} , then we can use one-hot encoding to map it into R n {\displaystyle \mathbb {R} ^{n}} . First, arbitrarily enumerate T = { t 1 , t 2 , . . , t m } {\displaystyle T=\{t_{1},t_{2},..,t_{m}\}} , then define ϕ ( t i ) = e i {\displaystyle \phi (t_{i})=e_{i}} . In other words, we assign a unique index i {\displaystyle i} to each token, then map the token with index i {\displaystyle i} to the unit basis vector e i {\displaystyle e_{i}} . One-hot encoding is easy to interpret, but it requires one to maintain the arbitrary enumeration of T {\displaystyle T} . Given a token t ∈ T {\displaystyle t\in T} , to compute ϕ ( t ) {\displaystyle \phi (t)} , we must find out the index i {\displaystyle i} of the token t {\displaystyle t} . Thus, to implement ϕ {\displaystyle \phi } efficiently, we need a fast-to-compute bijection h : T → { 1 , . . . , m } {\displaystyle h:T\to \{1,...,m\}} , then we have ϕ ( t ) = e h ( t ) {\displaystyle \phi (t)=e_{h(t)}} . In fact, we can relax the requirement slightly: It suffices to have a fast-to-compute injection h : T → { 1 , . . . , n } {\displaystyle h:T\to \{1,...,n\}} , then use ϕ ( t ) = e h ( t ) {\displaystyle \phi (t)=e_{h(t)}} . In practice, there is no simple way to construct an efficient injection h : T → { 1 , . . . , n } {\displaystyle h:T\to \{1,...,n\}} . However, we do not need a strict injection, but only an approximate injection. That is, when t ≠ t ′ {\displaystyle t\neq t'} , we should probably have h ( t ) ≠ h ( t ′ ) {\displaystyle h(t)\neq h(t')} , so that probably ϕ ( t ) ≠ ϕ ( t ′ ) {\displaystyle \phi (t)\neq \phi (t')} . At this point, we have just specified that h {\displaystyle h} should be a hashing function. Thus we reach the idea of feature hashing. == Algorithms == === Feature hashing (Weinberger et al. 2009) === The basic feature hashing algorithm presented in (Weinberger et al. 2009) is defined as follows. First, one specifies two hash functions: the kernel hash h : T → { 1 , 2 , . . . , n } {\displaystyle h:T\to \{1,2,...,n\}} , and the sign hash ζ : T → { − 1 , + 1 } {\displaystyle \zeta :T\to \{-1,+1\}} . Next, one defines the feature hashing function: ϕ : T → R n , ϕ ( t ) = ζ ( t ) e h ( t ) {\displaystyle \phi :T\to \mathbb {R} ^{n},\quad \phi (t)=\zeta (t)e_{h(t)}} Finally, extend this feature hashing function to strings of tokens by ϕ : T ∗ → R n , ϕ ( t 1 , . . . , t k ) = ∑ j = 1 k ϕ ( t j ) {\displaystyle \phi :T^{}\to \mathbb {R} ^{n},\quad \phi (t_{1},...,t_{k})=\sum _{j=1}^{k}\phi (t_{j})} where T ∗ {\displaystyle T^{}} is the set of all finite strings consisting of tokens in T {\displaystyle T} . Equivalently, ϕ ( t 1 , . . . , t k ) = ∑ j = 1 k ζ ( t j ) e h ( t j ) = ∑ i = 1 n ( ∑ j : h ( t j ) = i ζ ( t j ) ) e i {\displaystyle \phi (t_{1},...,t_{k})=\sum _{j=1}^{k}\zeta (t_{j})e_{h(t_{j})}=\sum _{i=1}^{n}\left(\sum _{j:h(t_{j})=i}\zeta (t_{j})\right)e_{i}} ==== Geometric properties ==== We want to say something about the geometric property of ϕ {\displaystyle \phi } , but T {\displaystyle T} , by itself, is just a set of tokens, we cannot impose a geometric structure on it except the discrete topology, which is generated by the discrete metric. To make it nicer, we lift it to T → R T {\displaystyle T\to \mathbb {R} ^{T}} , and lift ϕ {\displaystyle \phi } from ϕ : T → R n {\displaystyle \phi :T\to \mathbb {R} ^{n}} to ϕ : R T → R n {\displaystyle \phi :\mathbb {R} ^{T}\to \mathbb {R} ^{n}} by linear extension: ϕ ( ( x t ) t ∈ T ) = ∑ t ∈ T x t ζ ( t ) e h ( t ) = ∑ i = 1 n ( ∑ t : h ( t ) = i x t ζ ( t ) ) e i {\displaystyle \phi ((x_{t})_{t\in T})=\sum _{t\in T}x_{t}\zeta (t)e_{h(t)}=\sum _{i=1}^{n}\left(\sum _{t:h(t)=i}x_{t}\zeta (t)\right)e_{i}} There is an infinite sum there, which must be handled at once. There are essentially only two ways to handle infinities. One may impose a metric, then take its completion, to allow well-behaved infinite sums, or one may demand that nothing is actually infinite, only potentially so. Here, we go for the potential-infinity way, by restricting R T {\displaystyle \mathbb {R} ^{T}} to contain only vectors with finite support: ∀ ( x t ) t ∈ T ∈ R T {\displaystyle \forall (x_{t})_{t\in T}\in \mathbb {R} ^{T}} , only finitely many entries of ( x t ) t ∈ T {\displaystyle (x_{t})_{t\in T}} are nonzero. Define an inner product on R T {\displaystyle \mathbb {R} ^{T}} in the obvious way: ⟨ e t , e t ′ ⟩ = { 1 , if t = t ′ , 0 , else. ⟨ x , x ′ ⟩ = ∑ t , t ′ ∈ T x t x t ′ ⟨ e t , e t ′ ⟩ {\displaystyle \langle e_{t},e_{t'}\rangle ={\begin{cases}1,{\text{ if }}t=t',\\0,{\text{ else.}}\end{cases}}\quad \langle x,x'\rangle =\sum _{t,t'\in T}x_{t}x_{t'}\langle e_{t},e_{t'}\rangle } As a side note, if T {\displaystyle T} is infinite, then the inner product space R T {\displaystyle \mathbb {R} ^{T}} is not complete. Taking its completion would get us to a Hilbert space, which allows well-behaved infinite sums. Now we have an inner product space, with enough structure to describe the geometry of the feature hashing function ϕ : R T → R n {\displaystyle \phi :\ma

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  • Stochastic Neural Analog Reinforcement Calculator

    Stochastic Neural Analog Reinforcement Calculator

    The Stochastic Neural Analog Reinforcement Calculator (SNARC) is a neural network machine designed by Marvin Minsky. Prompted by a letter from Minsky, George Armitage Miller gathered the funding (a few thousand dollars) for the project from the Office of Naval Research of the U.S. Department of Defense in the summer of 1951 with the work to be carried out by Minsky, who was then a graduate student in mathematics at Princeton University. At the time, a physics graduate student at Princeton, Dean S. Edmonds, volunteered that he was good with electronics and therefore Minsky brought him onto the project. During undergraduate years, Minsky was inspired by the 1943 Warren McCulloch and Walter Pitts paper on artificial neurons, and decided to build such a machine. The learning was Skinnerian reinforcement learning, and Minsky talked with Skinner extensively during the development of the machine. They tested the machine on a copy of Shannon's maze, and found that it could learn to solve the maze. Unlike Shannon's maze, this machine did not control a physical robot, but simulated rats running in a maze. The simulation is displayed as an "arrangement of lights", and the circuit was reinforced each time the simulated rat reached the goal. The machine surprised its creators. "The rats actually interacted with one another. If one of them found a good path, the others would tend to follow it." The machine itself is a randomly connected network of approximately 40 Hebb synapses. These synapses each have a memory that holds the probability that signal comes in one input and another signal will come out of the output. There is a probability knob that goes from 0 to 1 that shows this probability of the signals propagating. If the probability signal gets through, a capacitor remembers this function and engages an electromagnetic clutch. At this point, the operator will press a button to give a reward to the machine. This activates a motor on a surplus Minneapolis-Honeywell C-1 gyroscopic autopilot from a B-24 bomber. The motor turns a chain that goes to all 40 synapse machines, checking if the clutch is engaged or not. As the capacitor can only "remember" for a certain amount of time, the chain only catches the most recent updates of the probabilities. Each neuron contained 6 vacuum tubes and a motor. The entire machine is "the size of a grand piano" and contained 300 vacuum tubes. The tubes failed regularly, but the machine would still work despite failures. This machine is considered one of the first pioneering attempts at the field of artificial intelligence. Minsky went on to be a founding member of MIT's Project MAC, which split to become the MIT Laboratory for Computer Science and the MIT Artificial Intelligence Lab, and is now the MIT Computer Science and Artificial Intelligence Laboratory. In 1985 Minsky became a founding member of the MIT Media Laboratory. According to Minsky, he loaned the machine to students in Dartmouth, and subsequently lost, except for a single neuron. A photo of Minsky's last neuron can be seen here. The photo shows 6 vacuum tubes, one of which is a Sylvania JAN-CHS-6H6GT/G/VT-90A.

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  • Computational creativity

    Computational creativity

    Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d

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  • RightsCon

    RightsCon

    RightsCon is an annual conference on digital rights hosted by Access Now. It convenes international leaders and organizations to discuss global problems including internet censorship, the regulation of algorithms, electronic surveillance, the ethics of technology, online hate speech, content moderation, cyberwarfare, and more. == History == The conference was first convened by Access (today, Access Now) in Silicon Valley in 2011, with the intention of gathering civil society to discuss impacts of the growing tech industry on digital rights and human rights. It sought the participation of leaders from both industry (including companies such as Twitter, Google, Mozilla, and Comcast) and civil society organizations (such as the Electronic Frontier Foundation and New America). Keynote speakers included the then-Assistant Secretary of State, Michael Posner; Egyptian blogger and political prisoner, Alaa Abd El-Fattah; and then-director of public policy at Google, Bob Boorstin. RightsCon organizers have sought to ensure the event is accessible to attendees from across the globe, particularly global majority countries, informing the decision to hold the conference in Asia, the Middle East, and Latin America. === Online convenings === In 2020, RightsCon was to be held in San José, Costa Rica, but due to the COVID-19 pandemic, the meeting took place in an online format. In 2021, the 10th edition of RightsCon was again held online from Monday, June 7 to Friday, June 11, 2021, due to the continued global COVID-19 pandemic which altered several digital rights physical meetings. The topics for RightsCon2021 included: Artificial Intelligence (AI), automation, data protection and user control, digital futures, democracy, elections, new business models, content control, peacebuilding, censorship, internet shutdowns, freedom of the media and many others were discussed by several digital rights organizations and individuals. === 2026 cancellation === The 14th RightsCon was scheduled to be held in Zambia from May 5 to 8, 2026. On April 29, 2026, the Zambian government abruptly postponed the conference, writing in a statement that the postponement was "necessitated by the need for comprehensive disclosure […] relating to key thematic issues proposed for discussion during the Summit." In May 2026, the conference was cancelled due to pressure from the Chinese government. In a statement the same day, Access Now wrote that it was "told that diplomats from the People's Republic of China (PRC) were putting pressure on the Government of Zambia because Taiwanese civil society participants were planning to join us in person." == List of conferences == Past RightsCon conferences include:

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  • Verbot

    Verbot

    The Verbot (short for Verbal-Robot) was a chatbot program and artificial intelligence software development kit (SDK) designed for Windows and web platforms. == Early beginning == The origin of verbot traces back to Michael Mauldin's research during his time as a graduate student and post-doctoral fellow at Carnegie Mellon University. The creative foundation also stems from Peter Plantec's work in personality psychology and art direction. === Historic outline === In 1994, Michael Loren Mauldin, founder of Lycos, Inc., developed a prototype chatbot, Julia, which competed in the internationally known Turing test, for the coveted Loebner Prize. The Turing test matches computer scientist judges against machines to see if they can distinguish a computer from a real human. Julia was refined and developed, and in 1997, Dr. Mauldin and Peter Plantec, a clinical psychologist and animator, formed Virtual Personalities, Inc. (now Conversive, Inc.) in order to create a virtual human interface that would incorporate real-time animation as well as speech and natural language processing. The initial release, a stand-alone virtual person called Sylvie, was beta-tested to the public. This release was well received, and finally, after several versions, the production release (deemed version 3) of the Verbally Enhanced Software Robot, or Verbot, was deployed in fall 2000. The grandfather of all Verbots is Rog-O-Matic, which, although it could not talk, could and did explore a virtual world. Julia has been active on the internet in one form or another since 1989. A close cousin of Julia is Lycos, a robot that explores the World Wide Web and answers questions about it. Sylvie was the first Verbot with a face and a voice. Sylvie was the first Virtual Human with advanced, flexible interfacing capability. === Beginnings === The Virtual Personalities story goes back to 1978, where Mauldin was attending Rice University. Fascinated by the idea of ELIZA, he proceeded to write a program called "PET" for his 8 kilobyte Commodore PET Computer. PET included simple induction as a way to post new information, for example: Subject: I like my friend (later) Subject: I like food. PET: I have heard that food is your friend. Meanwhile, Plantec was separately designing a personality for "Entity", a theoretical virtual human that would interact comfortably with humans without pretending to be one. At that time the technology was not advanced enough to realize Entity. Mauldin got so involved with this that he majored in Computer Science and minored in Linguistics. === Rogue === In the late seventies and early eighties, a popular computer game at universities was Rogue, an implementation of Dungeons and Dragons where the player would descend 26 levels in a randomly created dungeon, fighting monsters, gathering treasure, and searching for the elusive "Amulet of Yendor". Mauldin was one of four grad students who devoted a large amount of time to building a program called "Rog-O-Matic" capable of retrieving the amulet and emerging victorious from the dungeon. === TinyMUD === In 1989, when James Aspnes at Carnegie Mellon created the first TinyMUD (a descendant of MUD and AberMUD), Mauldin was one of the first to create a computer player that would explore the text-based world of TinyMUD. But his first robot, Gloria, gradually accreted more and more linguistic ability, to the point that it could pass the "unsuspecting" Turing test. In this version of the test, the human has no reason to suspect that one of the other occupants of the room is controlled by a computer, and so is more polite and asks fewer probing questions. The second generation of Mauldin's TinyMUD robots was Julia, created on Jan. 8, 1990. Julia slowly developed into a more and more capable conversational agent, and assumed useful duties in the TinyMUD world, including tour guide, information assistant, note-taker, and message-relayer. She could even play the card game hearts along with the other human players. In 1991, Julia attended the first Loebner Prize contest in Boston, Massachusetts. Although she only finished third, she was ranked by one judge as more human than one of the human confederates, winning a coveted certificate of humanness in the world's first restricted Turing test. Julia continued to log in to various TinyMUD's and TinyMucks for the next seven years, and chatted with hundreds of people a month over the internet. === Lycos === Julia's job was to explore a virtual world consisting of pages of textual descriptions, with links between them, and to construct an internal map of that world and answer questions about it (including path information such as the shortest route from one room to another, and matching information, such as which rooms contained a certain kind of object or textual description). It was therefore only a very short cognitive leap from Julia to Lycos, another robotic agent that explores a virtual world made of hyperlinked pages of text, and which answers questions about those pages. Sylvie was born and her abilities were expanded greatly to include interfacing with computers and control systems via her serial ports. === Sylvie === Sylvie was the first intelligent animated virtual human. She was designed both as a conversation agent and as a virtual human interface that would form a bridge between the two. She became more popular as a conversation agent, but her designers believe she serves as a prototype for future virtual human interface design that will help us all cope with the increasing complexity of technology. As an aside, Plantec noticed that a large number of Sylvies have been sold in Southeast Asia. Upon investigation, he found out that students had discovered a "test" mode that would allow them to type in English sentences that Sylvie would pronounce in her somewhat stylized English. == Ownership == In 1997, Dr. Mauldin and Peter Plantec formed Virtual Personalities, Inc. to create Natural Language Processing solutions for companies. In 2001 Virtual Personalities, Inc. became Conversive, Inc. to reflect the focus on providing Customer Service and Marketing to the Enterprise Market. In late 2012 Avaya, Inc. acquired Conversive's assets including Verbots. == Verbot versions == The Verbot 4 version was created and released in 2004. In 2005 Version 4.1 of the Verbot Software was released with many feature enhancements and bug fixes, including built-in support for embedding C# code in outputs and conditionals. In early 2006 Conversive launched Verbots Online allowing Verbot 4 users to upload their knowledge and show off their bots to the world. In 2009 Version 5 was released, completely free and fully featured. In early 2012 the last version of Verbot, 5.0.1.2, was released to the general public with support for Windows 7. Later in 2012 Verbots Online completely shut down. == Verbots today == Verbots.com, its community of users, and its forums no longer exist, but the software and users can still be found. There has been no active development since the early 2012 release of Verbot 5.0.1.2.

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  • Qualification problem

    Qualification problem

    In philosophy and AI (especially, knowledge-based systems), the qualification problem is concerned with the impossibility of listing all the preconditions required for a real-world action to have its intended effect. It might be posed as how to deal with the things that prevent me from achieving my intended result. It is strongly connected to, and opposite the ramification side of, the frame problem. John McCarthy gives the following motivating example, in which it is impossible to enumerate all the circumstances that may prevent a robot from performing its ordinary function: [T]he successful use of a boat to cross a river requires, if the boat is a rowboat, that the oars and rowlocks be present and unbroken, and that they fit each other. Many other qualifications can be added, making the rules for using a rowboat almost impossible to apply, and yet anyone will still be able to think of additional requirements not yet stated.

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  • MultiNet

    MultiNet

    Multilayered extended semantic networks (MultiNets) are both a knowledge representation paradigm and a language for meaning representation of natural language expressions that has been developed by Prof. Dr. Hermann Helbig on the basis of earlier Semantic Networks. It is used in a question-answering application for German called InSicht. It is also used to create a tutoring application developed by the university of University of Hagen to teach MultiNet to knowledge engineers. MultiNet is claimed to be one of the most comprehensive and thoroughly described knowledge representation systems. It specifies conceptual structures by means of about 140 predefined relations and functions, which are systematically characterized and underpinned by a formal axiomatic apparatus. Apart from their relational connections, the concepts are embedded in a multidimensional space of layered attributes and their values. Another characteristic of MultiNet distinguishing it from simple semantic networks is the possibility to encapsulate whole partial networks and represent the resulting conceptual capsule as a node of higher order, which itself can be an argument of relations and functions. MultiNet has been used in practical NLP applications such as natural language interfaces to the Internet or question answering systems over large semantically annotated corpora with millions of sentences. MultiNet is also a cornerstone of the commercially available search engine SEMPRIA-Search, where it is used for the description of the computational lexicon and the background knowledge, for the syntactic-semantic analysis, for logical answer finding, as well as for the generation of natural language answers. MultiNet is supported by a set of software tools and has been used to build large semantically based computational lexicons. The tools include a semantic interpreter WOCADI, which translates natural language expressions (phrases, sentences, texts) into formal MultiNet expressions, a workbench MWR+ for the knowledge engineer (comprising modules for automatic knowledge acquisition and reasoning), and a workbench LIA+ for the computer lexicographer supporting the creation of large semantically based computational lexica.

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