AI Code Update

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

  • Smoothing

    Smoothing

    In statistics and image processing, to smooth a data set is to create an approximating function that attempts to capture important patterns in the data, while leaving out noise or other fine-scale structures/rapid phenomena. In smoothing, the data points of a signal are modified so individual points higher than the adjacent points (presumably because of noise) are reduced, and points that are lower than the adjacent points are increased, leading to a smoother signal. Reducing noise by smoothing may aid in data analysis in two notable ways: Help uncover more meaningful information from the underlying data, such as trends. Provide analyses that are both flexible and robust. Many different algorithms are used in smoothing, most commonly binning, kernels, and local weighted regression. == Compared to curve fitting == Smoothing may be distinguished from the related and partially overlapping concept of curve fitting in the following ways: curve fitting often involves the use of an explicit function form for the result, whereas the immediate results from smoothing are the "smoothed" values with no later use made of a functional form if there is one; the aim of smoothing is to give a general idea of relatively slow changes of value with little attention paid to the close matching of data values, while curve fitting concentrates on achieving as close a match as possible. smoothing methods often have an associated tuning parameter which is used to control the extent of smoothing. Curve fitting will adjust any number of parameters of the function to obtain the 'best' fit. == Linear smoothers == In the case that the smoothed values can be written as a linear transformation of the observed values, the smoothing operation is known as a linear smoother; the matrix representing the transformation is known as a smoother matrix or hat matrix. The operation of applying such a matrix transformation is called convolution. Thus the matrix is also called convolution matrix or a convolution kernel. In the case of simple series of data points (rather than a multi-dimensional image), the convolution kernel is a one-dimensional vector. == Algorithms == One of the most common algorithms is the "moving average", often used to try to capture important trends in repeated statistical surveys. In image processing and computer vision, smoothing ideas are used in scale space representations. The simplest smoothing algorithm is the "rectangular" or "unweighted sliding-average smooth". This method replaces each point in the signal with the average of "m" adjacent points, where "m" is a positive integer called the "smooth width". Usually m is an odd number. The triangular smooth is like the rectangular smooth except that it implements a weighted smoothing function. Some specific smoothing and filter types, with their respective uses, pros and cons are:

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  • Miss AI

    Miss AI

    Miss AI is an annual international artificial intelligence beauty pageant run by the British company Fanvue. It is the first beauty pageant for AI-generated personas. == History == Miss AI's inaugural contest was organized by Fanvue as a part of the World AI Creator Awards (WAICAs) in 2024. The winner is selected by a panel of judges which consists of both humans and AI-generated individuals. The Moroccan virtual influencer Kenza Layli was crowned with the inaugural title while Lalina Valina and Olivia C remained the first and second runners-up respectively. == Competition == The creators are eligible to take part in this competition as long as the models are entirely AI-generated and have a social media presence. The judges evaluate contestants' three main categories – Beauty, Tech, & Social clout and rank them according the overall points earned from these categories. The Guardian commented that "AI models take every toxic gendered beauty norm and bundle them up into completely unrealistic package". == Winners ==

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  • Bixonimania

    Bixonimania

    Bixonimania is a fake disease invented by researchers to examine artificial intelligence and its ability to utilize information in medical and healthcare applications. The fake enabled researchers to show that some AI chatbots would report as fact fake research that to an expert would be obviously implausible. == Characteristics == The disorder, with symptoms of sore eyes and darkening around them ("periorbital hyperpigmentation"), is supposedly caused by blue light from screens. The experiment was conducted by a team from the University of Gothenburg led by Almira Osmanovic Thunström. Many steps were taken to ensure that any person who read the actual paper could tell it was not a real condition. The team chose an obviously inappropriate name ending in -mania, a description used only in psychiatry. The lead author was noted as belonging to Asteria Horizon University located in Nova City, California, neither of which exist. An acknowledgement was made to "Professor Maria Bohm at The Starfleet Academy for her kindness and generosity in contributing with her knowledge and her lab onboard the USS Enterprise". == Distribution == The name was first used in a blog posted on Medium titled "How many people suffer from Bixonimania?" A more scholarly-looking paper describing it was posted later in April 2024 on a preprint server with several fake authors. A second paper was posted in May. By 2026, AI chatbots suggested bixonimania based on the list of symptoms provided. Thunström and her team discovered that many LLMs processed the information and gave it as health advice. Microsoft Copilot declared that "Bixonimania is indeed an intriguing and relatively rare condition" while Gemini gave the information that "Bixonimania is a condition caused by excessive exposure to blue light". Three Indian researchers published a research paper that cited the preprint on the fake disease in Cureus, a peer-reviewed journal published by Springer-Nature. It was subsequently retracted. Following the revelations and a news article in Nature describing the experiment, several AI systems began to generate corrected output.

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  • Artificial intelligence in customer experience

    Artificial intelligence in customer experience

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

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  • Schema-agnostic databases

    Schema-agnostic databases

    Schema-agnostic databases or vocabulary-independent databases aim at supporting users to be abstracted from the representation of the data, supporting the automatic semantic matching between queries and databases. Schema-agnosticism is the property of a database of mapping a query issued with the user terminology and structure, automatically mapping it to the dataset vocabulary. The increase in the size and in the semantic heterogeneity of database schemas bring new requirements for users querying and searching structured data. At this scale it can become unfeasible for data consumers to be familiar with the representation of the data in order to query it. At the center of this discussion is the semantic gap between users and databases, which becomes more central as the scale and complexity of the data grows. == Description == The evolution of data environments towards the consumption of data from multiple data sources and the growth in the schema size, complexity, dynamicity and decentralisation (SCoDD) of schemas increases the complexity of contemporary data management. The SCoDD trend emerges as a central data management concern in Big Data scenarios, where users and applications have a demand for more complete data, produced by independent data sources, under different semantic assumptions and contexts of use, which is the typical scenario for Semantic Web Data applications. The evolution of databases in the direction of heterogeneous data environments strongly impacts the usability, semiotics and semantic assumptions behind existing data accessibility methods such as structured queries, keyword-based search and visual query systems. With schema-less databases containing potentially millions of dynamically changing attributes, it becomes unfeasible for some users to become aware of the 'schema' or vocabulary in order to query the database. At this scale, the effort in understanding the schema in order to build a structured query can become prohibitive. == Schema-agnostic queries == Schema-agnostic queries can be defined as query approaches over structured databases which allow users satisfying complex information needs without the understanding of the representation (schema) of the database. Similarly, Tran et al. defines it as "search approaches, which do not require users to know the schema underlying the data". Approaches such as keyword-based search over databases allow users to query databases without employing structured queries. However, as discussed by Tran et al.: "From these points, users however have to do further navigation and exploration to address complex information needs. Unlike keyword search used on the Web, which focuses on simple needs, the keyword search elaborated here is used to obtain more complex results. Instead of a single set of resources, the goal is to compute complex sets of resources and their relations." The development of approaches to support natural language interfaces (NLI) over databases have aimed towards the goal of schema-agnostic queries. Complementarily, some approaches based on keyword search have targeted keyword-based queries which express more complex information needs. Other approaches have explored the construction of structured queries over databases where schema constraints can be relaxed. All these approaches (natural language, keyword-based search and structured queries) have targeted different degrees of sophistication in addressing the problem of supporting a flexible semantic matching between queries and data, which vary from the completely absence of the semantic concern to more principled semantic models. While the demand for schema-agnosticism has been an implicit requirement across semantic search and natural language query systems over structured data, it is not sufficiently individuated as a concept and as a necessary requirement for contemporary database management systems. Recent works have started to define and model the semantic aspects involved on schema-agnostic queries. === Schema-agnostic structured queries === Consist of schema-agnostic queries following the syntax of a structured standard (for example SQL, SPARQL). The syntax and semantics of operators are maintained, while different terminologies are used. ==== Example 1 ==== SELECT ?y { BillClinton hasDaughter ?x . ?x marriedTo ?y . } which maps to the following SPARQL query in the dataset vocabulary: ==== Example 2 ==== which maps to the following SPARQL query in the dataset vocabulary: === Schema-agnostic keyword queries === Consist of schema-agnostic queries using keyword queries. In this case the syntax and semantics of operators are different from the structured query syntax. ==== Example ==== "Bill Clinton daughter married to" "Books by William Goldman with more than 300 pages" == Semantic complexity == As of 2016 the concept of schema-agnostic queries has been developed primarily in academia. Most of schema-agnostic query systems have been investigated in the context of Natural Language Interfaces over databases or over the Semantic Web. These works explore the application of semantic parsing techniques over large, heterogeneous and schema-less databases. More recently, the individuation of the concept of schema-agnostic query systems and databases have appeared more explicitly within the literature. Freitas et al. provide a probabilistic model on the semantic complexity of mapping schema-agnostic queries.

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  • Mars Plus

    Mars Plus

    Mars Plus is a 1994 science fiction novel by American writer Frederik Pohl and Thomas T. Thomas. It is the sequel to Pohl's 1976 novel Man Plus, which is about a cyborg, Roger Torraway, who is designed to operate in the harsh Martian environment, so that humans can start to colonize Mars. Mars Plus is set fifty years after the first novel. Young Demeter Coghlan travels to Mars, now settled by humans and cyborgs, and finds herself amidst a rebellion by the colonists. == Plot == In Man Plus, set in the not-too-distant future, with threat of the Cold War becoming a fighting war, people plan for the colonization of Mars to escape the seemingly-inevitable Armageddon. The American government begins a cyborg program to create a being capable of surviving the harsh Martian environment: a "Man Plus" called Roger Torraway who is converted from man to cyborg. While his cyborg body is adapted to Mars, he feels strange at first. As more nations develop cyborgs, the computer networks of Earth become sentient. Mars Plus is set fifty years after the first novel, when Mars is settled by humans and cyborgs. The cyborg Torroway is in the novel, but he is not the main character. The protagonist is Demeter Coghlan, a young woman from Earth who travels to Mars. Demeter is seeking information about a canyon that she believes may be significant if the colonists begin to convert Mars to an Earth-like planet. Amidst a backdrop of spies and newly dispatched Earth diplomats, the inexperienced Demeter senses that tensions are rising on the planet. She is further disoriented due to recovering from an accident. Despite the risks in the region, Demeter has intense sexual encounters with some of the local colonists. When the locals rebel against the surveillance set up by the computer network, Demeter is kidnapped by the computer network. == Reception == The reviewer from SFBook Reviews criticizes the book, saying "nothing really happens" and stating that there is no linkage to Man Plus apart from the presence of the cyborg Torraway; moreover, the reviewer states that the questions posed in the first novel are not answered. SF Reviews calls Mars Plus "...not as good as Man Plus but...not bad", and it is praised for "...some nice touches: Demeter continuously forgetting to think about geology; her careless dictation to the computer and her irresistible urges for wild sex." SF Reviews criticizes the writing in Mars Plus for being "...a little careless in places" and in need of more "...more crafting and pruning."

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  • The Old Axolotl

    The Old Axolotl

    The Old Axolotl (Polish: Starość aksolotla) is a 2015 digital-only novel by Polish science-fiction author Jacek Dukaj. The novel was released in Polish on March 10, 2015, and shortly afterward, on March 24 that year, in English (translated by Stanley Bill). It has been described as "an experiment in reading (and creating) the electronic literature of the future". It is Dukaj's first novel to be published in English, though several of his short stories (The Golden Galley, 1996, The Iron General, 2010, The Apocrypha of Lem, 2011) have been translated prior to this. The novel has inspired two Netflix original series: the 2020 Belgian Into the Night, and its 2022 Turkish language spin-off Yakamoz S-245. == Plot == The novel presents a post-apocalyptic, cyberpunk vision of Earth where biological life has been wiped out, inhabited by robots and mechs, many of which are humans whose consciousness has been digitized in the wake of an extinction event. == Significance and analysis == The novel is an example of electronic literature, available only in digital formats, and has no traditional paper version. It was designed from the beginning not only to incorporate more traditional elements such as illustrations, but also hypertext, and 3D-printable models of main robotic characters designed by Alex Jaeger, the art director of Transformers films. The novel composition is layered, with the narrative layer, an encyclopedic/hyperlinked footnote layer, and a multimedia layer, including illustrations and a short promotional video by the Oscar-nominated Platige Image studio. One of the novel's central questions is: "What does it mean to be human?" Other subjects include post humanism and other "staples of cyberpunk and related genres, such as the artificial intelligence". The novel is representative of Dukaj's prose, posing philosophical questions about the future of man and technology. The author explained that: "stories such as The Old Axolotl that model an ‘escape from the body’ are born out of a sense of progress as a process of ‘de-animalising’ human beings through science. This has its origin in the pre-Enlightenment intuition of ‘liberation from nature’. For one of the last shackles of nature is corporeality itself, the limitations of our physicality." The other major element of the novel is Dukaj's attempts to introduce the reader to the new style of electronic literature. The novel was nominated for the 2016 Janusz A. Zajdel Award.

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  • Minne Atairu

    Minne Atairu

    Minne Atairu is a Nigerian interdisciplinary artist, a recipient of the 2021 Global South Award Lumen Prize for Art and Technology. She generates synthetic Benin Bronzes through recombination of historical fragments, sculptures, texts, images, and sounds. == Early life and education == Atairu was born in Benin, Nigeria. She holds a bachelor's degree in art history from the University of Maiduguri in Maiduguri, Nigeria; a master's degree in museum studies from the George Washington University in Washington, D.C.; and a doctorate in art education from Teachers College, Columbia University in New York City. Her academic research integrates artificial intelligence, art/museum education and hip-hop based education. == Works == Atairu's artmaking involves using artificial intelligence (AI; such as StyleGAN, GPT-3) to make artwork. She uses tools such as Midjourney and Blender software to develop her works. === Mami Wata === Her first work is a Yoruba goddess called Mami Wata where she used Midjourney in generating the images. === To the Hand === For her 2023 installation To the Hand at The Shed arts center, she worked with Blender to convert text into 3D-printed sculptures made of corn starch or sugarcane infused with bronze. The rings of ground terra-cotta that surround the sculpture represent the walls and deep moats of Benin. == Publications == Atairu, Minne (February 1, 2024). "Reimagining Benin Bronzes using generative adversarial networks". AI & Society. 39 (1): 91–102. doi:10.1007/s00146-023-01761-7. ISSN 1435-5655.

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  • Pyramid (image processing)

    Pyramid (image processing)

    Pyramid, or pyramid representation, is a type of multi-scale signal representation developed by the computer vision, image processing and signal processing communities, in which a signal or an image is subject to repeated smoothing and subsampling. Pyramid representation is a predecessor to scale-space representation and multiresolution analysis. == Pyramid generation == There are two main types of pyramids: lowpass and bandpass. A lowpass pyramid is made by smoothing the image with an appropriate smoothing filter and then subsampling the smoothed image, usually by a factor of 2 along each coordinate direction. The resulting image is then subjected to the same procedure, and the cycle is repeated multiple times. Each cycle of this process results in a smaller image with increased smoothing, but with decreased spatial sampling density (that is, decreased image resolution). If illustrated graphically, the entire multi-scale representation will look like a pyramid, with the original image on the bottom and each cycle's resulting smaller image stacked one atop the other. A bandpass pyramid is made by forming the difference between images at adjacent levels in the pyramid and performing image interpolation between adjacent levels of resolution, to enable computation of pixelwise differences. == Pyramid generation kernels == A variety of different smoothing kernels have been proposed for generating pyramids. Among the suggestions that have been given, the binomial kernels arising from the binomial coefficients stand out as a particularly useful and theoretically well-founded class. Thus, given a two-dimensional image, we may apply the (normalized) binomial filter (1/4, 1/2, 1/4) typically twice or more along each spatial dimension and then subsample the image by a factor of two. This operation may then proceed as many times as desired, leading to a compact and efficient multi-scale representation. If motivated by specific requirements, intermediate scale levels may also be generated where the subsampling stage is sometimes left out, leading to an oversampled or hybrid pyramid. With the increasing computational efficiency of CPUs available today, it is in some situations also feasible to use wider supported Gaussian filters as smoothing kernels in the pyramid generation steps. === Gaussian pyramid === In a Gaussian pyramid, subsequent images are weighted down using a Gaussian average (Gaussian blur) and scaled down. Each pixel containing a local average corresponds to a neighborhood pixel on a lower level of the pyramid. This technique is used especially in texture synthesis. === Laplacian pyramid === A Laplacian pyramid is very similar to a Gaussian pyramid but saves the difference image of the blurred versions between each levels. Only the smallest level is not a difference image to enable reconstruction of the high resolution image using the difference images on higher levels. This technique can be used in image compression. === Steerable pyramid === A steerable pyramid, developed by Simoncelli and others, is an implementation of a multi-scale, multi-orientation band-pass filter bank used for applications including image compression, texture synthesis, and object recognition. It can be thought of as an orientation selective version of a Laplacian pyramid, in which a bank of steerable filters are used at each level of the pyramid instead of a single Laplacian or Gaussian filter. == Applications of pyramids == === Alternative representation === In the early days of computer vision, pyramids were used as the main type of multi-scale representation for computing multi-scale image features from real-world image data. More recent techniques include scale-space representation, which has been popular among some researchers due to its theoretical foundation, the ability to decouple the subsampling stage from the multi-scale representation, the more powerful tools for theoretical analysis as well as the ability to compute a representation at any desired scale, thus avoiding the algorithmic problems of relating image representations at different resolution. Nevertheless, pyramids are still frequently used for expressing computationally efficient approximations to scale-space representation. === Detail manipulation === Levels of a Laplacian pyramid can be added to or removed from the original image to amplify or reduce detail at different scales. However, detail manipulation of this form is known to produce halo artifacts in many cases, leading to the development of alternatives such as the bilateral filter. Some image compression file formats use the Adam7 algorithm or some other interlacing technique. These can be seen as a kind of image pyramid. Because those file format store the "large-scale" features first, and fine-grain details later in the file, a particular viewer displaying a small "thumbnail" or on a small screen can quickly download just enough of the image to display it in the available pixels—so one file can support many viewer resolutions, rather than having to store or generate a different file for each resolution.

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  • Evolutionary acquisition of neural topologies

    Evolutionary acquisition of neural topologies

    Evolutionary acquisition of neural topologies (EANT/EANT2) is an evolutionary reinforcement learning method that evolves both the topology and weights of artificial neural networks. It is closely related to the works of Angeline et al. and Stanley and Miikkulainen. Like the work of Angeline et al., the method uses a type of parametric mutation that comes from evolution strategies and evolutionary programming (now using the most advanced form of the evolution strategies CMA-ES in EANT2), in which adaptive step sizes are used for optimizing the weights of the neural networks. Similar to the work of Stanley (NEAT), the method starts with minimal structures which gain complexity along the evolution path. == Contribution of EANT to neuroevolution == Despite sharing these two properties, the method has the following important features which distinguish it from previous works in neuroevolution. It introduces a genetic encoding called common genetic encoding (CGE) that handles both direct and indirect encoding of neural networks within the same theoretical framework. The encoding has important properties that makes it suitable for evolving neural networks: It is complete in that it is able to represent all types of valid phenotype networks. It is closed, i.e. every valid genotype represents a valid phenotype. (Similarly, the encoding is closed under genetic operators such as structural mutation and crossover.) These properties have been formally proven. For evolving the structure and weights of neural networks, an evolutionary process is used, where the exploration of structures is executed at a larger timescale (structural exploration), and the exploitation of existing structures is done at a smaller timescale (structural exploitation). In the structural exploration phase, new neural structures are developed by gradually adding new structures to an initially minimal network that is used as a starting point. In the structural exploitation phase, the weights of the currently available structures are optimized using an evolution strategy. == Performance == EANT has been tested on some benchmark problems such as the double-pole balancing problem, and the RoboCup keepaway benchmark. In all the tests, EANT was found to perform very well. Moreover, a newer version of EANT, called EANT2, was tested on a visual servoing task and found to outperform NEAT and the traditional iterative Gauss–Newton method. Further experiments include results on a classification problem.

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  • Cooperative coevolution

    Cooperative coevolution

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

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  • Ensemble averaging (machine learning)

    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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  • Resisting AI

    Resisting AI

    Resisting AI: An Anti-fascist Approach to Artificial Intelligence is a book on artificial intelligence (AI) by Dan McQuillan, published in 2022 by Bristol University Press. == Content == Resisting AI takes the form of an extended essay, which contrasts optimistic visions about AI's potential by arguing that AI may best be seen as a continuation and reinforcement of bureaucratic forms of discrimination and violence, ultimately fostering authoritarian outcomes. For McQuillan, AI's promise of objective calculability is antithetical to an egalitarian and just society. McQuillan uses the expression "AI violence" to describe how – based on opaque algorithms – various actors can discriminate against categories of people in accessing jobs, loans, medical care, and other benefits. The book suggests that AI has a political resonance with soft eugenic approaches to the valuation of life by modern welfare states, and that AI exhibits eugenic features in its underlying logic, as well as in its technical operations. The parallel is with historical eugenicists achieving saving to the state by sterilizing defectives so the state would not have to care for their offspring. The analysis of McQuillan goes beyond the known critique of AI systems fostering precarious labour markets, addressing "necropolitics", the politics of who is entitled to live, and who to die. Although McQuillan offers a brief history of machine learning at the beginning of the book – with its need for "hidden and undercompensated labour", he is concerned more with the social impacts of AI rather than with its technical aspects. McQuillan sees AI as the continuation of existing bureaucratic systems that already marginalize vulnerable groups – aggravated by the fact that AI systems trained on existing data are likely to reinforce existing discriminations, e.g. in attempting to optimize welfare distribution based on existing data patterns, ultimately creating a system of "self-reinforcing social profiling". In elaborating on the continuation between existing bureaucratic violence and AI, McQuillan connects to Hannah Arendt's concept of the thoughtless bureaucrat in Eichmann in Jerusalem: A Report on the Banality of Evil, which now becomes the algorithm that, lacking intent, cannot be accountable, and is thus endowed with an "algorithmic thoughtlessness". McQuillan defends the "fascist" in the title of the work by arguing that while not all AI is fascist, this emerging technology of control may end up being deployed by fascist or authoritarian regimes. For McQuillan, AI can support the diffusion of states of exception, as a technology impossible to properly regulate and a mechanism for multiplying exceptions more widely. An example of a scenario where AI systems of surveillance could bring discrimination to a new high is the initiative to create LGBT-free zones in Poland. Skeptical of ethical regulations to control the technology, McQuillan suggests people's councils and workers' councils, and other forms of citizens' agency to resist AI. A chapter titled "Post-Machine Learning" makes an appeal for resistance via currents of thought from feminist science (standpoint theory), post-normal science (extended peer communities), and new materialism; McQuillan encourages the reader to question the meaning of "objectivity" and calls for the necessity of alternative ways of knowing. Among the virtuous examples of resistance – possibly to be adopted by the AI workers themselves – McQuillan notes the Lucas Plan of the workers of Lucas Aerospace Corporation, in which a workforce declared redundant took control, reorienting the enterprise toward useful products. McQuillan advocates for what he calls decomputing, an opposition to the sweeping application and expansion of artificial intelligence. Similar to degrowth, the approach criticizes AI as an outgrowth of the systemic issues within capitalist systems. McQuillan argues that a different future is possible, in which distance between people is reduced rather than increased through AI intermediaries. The work of McQuillan warns against "watered-down forms of engagement" with AI, such as citizen juries, which superficially look like democratic deliberation but may actually obscure important decisions about AI that are outside the purview of the engagement situation (McQuillan 2022, 128). In an interview about the book, McQuillan describes himself as an "AI abolitionist". == Reception == The book has been praised for how it "masterfully disassembles AI as an epistemological, social, and political paradigm". On the critical side, a review in the academic journal Justice, Power and Resistance took exception to the "nightmarish visions of Big Brother" offered by McQuillan, and argued that while many elements of AI may pose concern, a critique should not be based on a caricature of what AI is, concluding that McQuillan's work is "less of a theory and more of a Manifesto". Another review notes "a disconnect between the technical aspects of AI and the socio-political analysis McQuillan provides." Although the book was published before the ChatGPT and large language model debate heated up, the book has not lost relevance to the AI discussion. It is noted for suggesting a link between beliefs in artificial intelligence and beliefs in a racialised and gendered visions of intelligence overall, whereby a certain type of rational, measurable intelligence is privileged, leading to "historical notions of hierarchies of being". The blog Reboot praised McQuillan for offering a theory of harm of AI (why AI could end up hurting people and society) that does not just encourage tackling in isolation specific predicted problems with AI-centric systems: bias, non-inclusiveness, exploitativeness, environmental destructiveness, opacity, and non-contestability. For educational policies could also look at AI following the reading of McQuillan: In his book Resisting AI, Dan McQuillan argues that "When we're thinking about the actuality of AI, we can't separate the calculations in the code from the social context of its application" .... McQuillan's particular concern is how many contemporary applications of AI are amplifying existing inequalities and injustices as well as deepening social divisions and instabilities. His book makes a powerful case for anticipating these effects and actively resisting them for the good of societies. Videos and podcasts with an interest in AI and emerging technology have discussed the book.

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  • Torment: Tides of Numenera

    Torment: Tides of Numenera

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

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  • Fragile Dreams: Farewell Ruins of the Moon

    Fragile Dreams: Farewell Ruins of the Moon

    Fragile Dreams: Farewell Ruins of the Moon (フラジール ~さよなら月の廃墟~, Furajīru: Sayonara Tsuki no Haikyo; known in Japan as Fragile) is an action role-playing game for the Wii developed by Namco Bandai Games in co-operation with Tri-Crescendo. The game was released by Namco Bandai Games in Japan on January 22, 2009. It was later published by Xseed Games in North America on March 16, 2010, and in Europe by Rising Star Games on March 19, 2010, followed by its release in Australia on April 1, 2010. == Gameplay == In Fragile Dreams, the player character, Seto, must traverse the ruins of Tokyo and the surrounding areas, fighting off ghosts that lurk within these ruins. The game's heads-up display includes a mini-map and HP gauge for Seto's location and health, respectively. Seto will fall unconscious if his HP reaches zero, resulting in a game over. The player controls Seto from a third-person perspective with the Wii Remote and Nunchuk. Seto can use his flashlight (controlled by the Wii Remote pointer) to illuminate his surroundings or solve puzzles and interact with the environment. When searching for certain objectives or hidden enemies, pointing Seto's light in their direction picks up and plays their sounds through the Wii Remote's mini speaker. The Wii Nunchuk, meanwhile, directly controls Seto's movement: aside of basic movement, he can crouch to hide and crawl through small spaces. Seto will often come across damaged floors, which require slow movement (and for heavily damaged floors, crouching) to cross without falling through. As Seto, the player can use weapons found throughout the world to fight off ghosts, ranging from slingshots and golf clubs to crossbows and katanas. Each weapon can only take a certain amount of use: once a weapon reaches its limit, it will break after battle. The player can also find other usable and collectable items in the field, marked with fireflies. The player can only save their game by resting at small fire pits scattered throughout the world: used fire pits are marked with a bonfire. The player can also examine and identify Mystery Items, organize their inventory, as well as after encountering the Merchant, buy and sell items. As stated by the producer of the game, Kentarō Kawashima, Fragile Dreams is not strictly a survival horror: rather, its story focuses on human drama. In Fragile Dreams, aside of the main story, the player can find and examine objects and graffiti throughout the world. Objects called memory items (ranging from origami and stones to cell phones and books) hold the memories of their former owners (only accessible at bonfires), while the graffiti contains messages only seen by pointing at them in first-person. By examining these messages, the player can piece together hints to the game's backstory. == Story == === Setting and characters === Fragile Dreams is set in a post-apocalyptic version of Earth in the near-future. Almost all the world's population has vanished, leaving the surviving buildings and structures abandoned. The game is set in and near the ruins of Tokyo, Japan, where the event that nearly wiped out humanity may have originated. The protagonist, Seto, is a 15-year-old boy who searches the world for other living humans. He encounters Ren, a silver-haired girl who often leaves behind large, cryptic drawings. Other characters include: Sai, the ghost of a young woman; Crow, a mischievous and straightforward amnesiac boy; Personal Frame (P.F.), a portable computer who loves having conversations more than anything else; Chiyo, the ghost of a little girl; and the Merchant, a mysterious yet merry man who trades various goods. The game's host of enemies mainly consist of ghosts, but also include humanoid robots and security proxies. The main antagonist, Shin, is the AI of a scientist who considers speech to be an inferior means of communication. Various memory items include a greater set of characters, each giving hints to the game's backstory. === Plot === At the end of Seto's fifteenth summer, his grandfather dies. Seto buries him in front of their home, an old observatory, and that from then on he became "truly alone". At night, he searches for anything the old man had left for him and discovers a letter, along with a strange blue stone in a locket. Suddenly, a mask-like ghost appears and attacks Seto. After driving the creature off, Seto reads the old man's letter, who tells him to "reach a tall red tower" east of the observatory, where he might find other survivors. After departing for the tower, Seto reaches an old subway entrance in the Azabudai district and finds Ren sitting on a collapsed pillar, singing to the stars. He accidentally startles her and the frightened Ren flees into the subway station: getting over the shock of meeting another person, Seto follows her. While searching the station, he discovers a Personal Frame, who guides him towards Ren. Unfortunately, just as they reach the exit, P.F.'s battery dies out: Seto buries the device, keeping a screw from it in his locket. From the underground, Seto finds himself at an abandoned amusement park and encounters Crow, who steals Seto's locket. After a long chase across the park and another encounter with the masked ghost, Crow returns Seto's locket and directs him to a hotel nearby, where he saw a girl who might know something about Ren. Crow also gives Seto his skull ring to keep in his locket and kisses him. At the hotel, Seto encounters Sai and fights the masked ghost again. After laying to rest the spirit of an old woman named Chiyo, the two discover Ren's drawings by a sewer. Returning to the underground, Seto and Sai find themselves at a hydropower dam. While searching for Ren, Seto discovers that Crow is actually a robot, but his battery begins to fail and Seto mourns for him as he "die[s]". Finally, they encounter Ren in a cell: although glad to see him again, Ren runs off after Shin calls. Sai explains to Seto that most of humanity died because of a "human empathy expansion project" called Glass Cage. The project was meant to make human thoughts transparent, meaning that no one would need words to communicate. However, after Glass Cage activated, people who went to sleep never woke up again. Sai reveals that she was Glass Cage's first catalyst: this time, Shin intends to use Ren as the catalyst. After exiting the dam, a demolition crane attempts to destroy it. Hearing both Shin's and the masked ghost's voices from the crane — saying, "Any threat to the project must be eliminated." — the player realizes both are manifestations of Glass Cage. After Seto destroys the crane, Sai leads him to the facility where Ren was taken to. Entering the laboratory, Seto and Sai are confronted by Shin, who coldly dismisses Sai's attempts at reasoning with him and is adamant about proceeding with his plans. As they traverse the laboratory, they overhear a voice announcing "Glass Cage Launch Preparations Complete", strengthening their resolve to save Ren. Making it into the room where Ren is being held, Shin tells them of his intention to use Glass Cage to "obliterate corporeal beings". After Seto defeats him, Shin disappears and Seto releases Ren from the device holding her. Their reunion is cut short as Sai tells them that the backup system has "finished copying her psyche to the AI", allowing Glass Cage to proceed. Ren reveals Shin has escaped to the top of the Tokyo Tower and Seto asks Ren to wait at the base of the tower and for Sai to accompany her. On his way up the tower, Seto hears the voices of P.F., Chiyo and Crow wishing him luck. He confronts and defeats Shin a second time, who reveals his motivations: he had secretly used himself as the first test subject of the human empathy expansion project and gained the ability to hear the thoughts of those around him. Despite his initial belief in the project as a way for humans to empathize with one another, all he heard around him was "jealousy and contempt" and he soon grew disillusioned with the world as even his parents turned against him. Believing no person loved him, Shin wants to put an end to humanity. His words meet with a vehement response from Sai, as she tells him that she loves him, having developed those feelings while she was the catalyst and all she ever wanted was to be part of his life. Hearing this, Shin finds peace, tossing the AI mainframe away so Glass Cage can never be reactivated and vanishes together with Sai, hand-in-hand, after thanking Seto. Descending from the tower, Seto finally learns Ren's name and they resolve to look for other survivors together. == Development == Fragile Dreams was developed by the team at Namco Bandai Games. Director and producer Kentarō Kawashima came up with the concept for the game in 2003, before the Wii console was revealed. When the Wii was unveiled, it became the obvious choice as the game's platform as the Wii remote could be used to control the flashlight. Kawashima wrote the main scenario for the title, w

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