AI Coding For Game Development

AI Coding For Game Development — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  AI nationalism

  AI nationalism is the idea that nations should develop and control their own artificial intelligence technologies to advance their own interests and ensure technological sovereignty. This concept is gaining traction globally, leading countries to implement new laws, form strategic alliances, and invest significantly in domestic AI capabilities. == Global trends and national strategies == In 2018, British technology investor Ian Hogarth published an influential essay titled AI Nationalism. He argued that as AI gains more power and its economic and military significance expands, governments will take measures to bolster their own domestic AI industries, and predicted that the advancement of machine learning systems would lead to what he termed "AI nationalism." He anticipated that this rise in AI would accelerate a global arms race, resulting in more closed economies, restrictions on foreign acquisitions, and limitations on the movement of talent. Hogarth predicted that AI policy would become a central focus of government agendas. He also criticized Britain’s approach to AI strategy, citing the sale of London-based DeepMind—one of the leading AI laboratories, acquired by Google for a relatively modest £400 million in 2014—as a significant misstep. AI nationalism is chiefly reflected in the escalating rhetoric of an artificial intelligence arms race, portraying AI development as a zero-sum game where the winner gains significant economic, political, and military advantages. This mindset, as highlighted in a 2017 Pentagon report, warns that sharing AI technology could erode technological supremacy and enhance rivals' capabilities. The winner-takes-all mentality of AI nationalism poses risks including unsafe AI development, increased geopolitical tension, and potential military aggression (such as cyberattacks or targeting AI professionals). Several countries, including Canada, France, and India, have formulated national strategies to advance their positions in AI. In the United States, a leading player in the global AI arena, trade policies have been enacted to restrict China's access to critical microchips, reflecting a strategic effort to maintain a technological edge. The United States’ National Security Commission on Artificial Intelligence (NSCAI) frames AI development as a critical aspect of a broader technology competition crucial for national success. It emphasizes the need to outpace China in AI to maintain strategic advantage, reflecting AI nationalism by linking geopolitical power directly to advancements in AI. France has seen notable governmental support for local AI startups, particularly those specializing in language technologies that cater to French and other non-English languages. In Saudi Arabia, Crown Prince Mohammed bin Salman is investing billions in AI research and development. The country has actively collaborated with major technology firms such as Amazon, IBM, and Microsoft to establish itself as a prominent AI hub. == Historical and cultural context == AI nationalism is seen as deeply connected to historical racism and imperialism. It is viewed not merely as a technological competition but as a contest over racial and civilizational superiority. Historically, technological achievements were often used to justify colonialism and racial hierarchies, with Western societies perceiving their advancements as evidence of superiority. In the context of AI, this historical context continues to shape views on intelligence and development. Some argue that AI nationalism reinforces the idea of fundamental civilizational divides, especially between the Western world and China. This perspective often frames China's progress in AI as a direct challenge to Western values, presenting the AI competition as a struggle over values. AI nationalism is said to draw from long-standing anti-Asian stereotypes, such as the "Yellow Peril," which portray Asian nations as threats to Western civilization. This viewpoint links Asian technological advances with dehumanization and artificiality, reflecting persistent anxieties about China's growing role in the global tech landscape. == Implications == AI nationalism is seen as a component of a broader trend towards the fragmentation of the internet, where digital services are increasingly influenced by local regulations and national interests. This shift is creating a new technological landscape in which the impact of artificial intelligence on individuals' lives can vary significantly depending on their geographic location. J. Paul Goode argues that AI nationalism may exacerbate existing societal divisions by promoting the development of systems that embed cultural biases, thereby privileging certain groups while disadvantaging others.

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  Iron Man 2020 (event)

  "Iron Man 2020" is a storyline published by Marvel Comics in 2020 which follows the character Arno Stark as he attempts to take over Stark Industries and the mantle of his estranged brother Tony Stark (Iron Man). The crossover characters of two different brands meeting up in one storyline received mixed reviews from critics. == Publication history == Marvel Comics released the teaser for the event at New York Comic Con in November 2019. It was also alluded to in December 2019's Incoming! In the original checklist released for the event, 2020 Force Works was originally titled Force Works 2020, while 2020 Machine Man was previously named Machine Man 2020, and so on. Additionally, 2020 Wolverine was going to be called Weapon.EXE 2020. The publication of this event was intended to span from January to June 2020, however, due to the COVID-19 pandemic, Diamond Comic Distributors suspended the distribution of new print titles between April 1 and May 27, which also caused digital releases by Marvel Entertainment to be postponed. The rescheduling of the postponed issues to new dates pushed the event's conclusion to August, and certain issues, namely 2020 Force Works #3 and 2020 Ironheart #1–2, were released exclusively in a digital format. == Main plot == Arno Stark wakes up from a nightmare involving the Extinction Entity, a monstrous amalgamation of alien and machine. He dreams that the Extinction Entity is going to come to Earth in a matter of weeks and create an artificial intelligence (A.I.) army to consume humanity. After eating breakfast with duplicates of Howard Stark and Maria Stark, Arno suits up as Iron Man and saves a construction worker from a hostage situation involving several Nick Fury Life Model Decoys, which represent the A.I. army trying to liberate construction robots. Over different news outlets, the media wonders about the whereabouts of Tony Stark, who declared himself as nothing more than a simulation of the real, late Tony Stark. At the A.I. army's base, Machine Man is commanding the robots' moves when Arno appears, having planned for the A.I. army's leader to show himself. Machine Man activates the bomb, forcing Arno to fly it away so it explodes somewhere safe while he escapes. Machine Man reaches the Thirteenth Floor, a dimensional-shunted plane of existence made of solid light, and a haven for robotkind that humans cannot access or comprehend. Aaron meets with the leader of the A.I. army and creator of Thirteenth Floor: Tony Stark -- who is now going by the name Mark One, having embraced his nature as artificial intelligence. Also in the A.I. army are Albert, Awesome Android, H.E.R.B.I.E., Machinesmith, and Quasimodo. The A.I. army continues its efforts to liberate artificial life forms by raiding places where robots are being subjugated. Iron Man intercepts an attack on a Futura Motors testing site by Quasimodo and H.E.R.B.I.E. and manages to recover an Un-Inhibitor allowing him to take control of all A.I.s. On the Thirteenth Floor, Mark One receives a transmission from a mole inside Baintronics -- codenamed Ghost in the Machine --revealing that Arno used the submission code on Jocasta, who received a new body, making her entirely compliant. Stark plans to upload the submission code to the internet to instantly infect robots. With only three hours before the code is transmitted to Stark Unlimited's satellite network, Mark One devises a heist on Bain Tower to tamper with the code before launch. Having discovered the secret behind the Thirteenth Floor, Arno shuts out the A.I. army, uses Jocasta to lure Machine Man away from the tower, infects Machinesmith with the submission code, and confronts Mark One. H.E.R.B.I.E., Awesome Android, and Machinesmith escape from Bain Tower and call for help to every robot in New York City. Mark One is left to fight Iron Man and is defeated. Meanwhile, Sunset Bain confronts and fires Andy Bhang under the accusation of working as a mole inside Stark Unlimited and feeding Bethany Cabe information to relay to the A.I. army. Arno takes Mark One inside Bain Tower to meet Howard and Maria Stark and asks Tony to join him, but he refuses and dismisses his rationale as lunacy. The robotic mob assembled by Machine Man reaches Bain Tower, giving Mark a distraction which allows him to fly off and disable the transmission dish from which Arno intends to broadcast the obedience O.S. to subjugate every robot. Tony manages to stop the upload and make the antenna unusable. In retaliation, Arno fires all of his armor's firepower at Tony as he falls to the ground. Tony Stark's remaining allies escape with his body as Arno attacks the robot protesters. Tony wakes up inside the Thirteenth Floor and is greeted by F.R.I.D.A.Y., who had plucked Tony's consciousness from his body during his fall. In the streets, Arno Stark tracks down Howard and Maria, who die from an illness inherited from Arno. When Sunset Bain objects to Arno creating new bodies for his parents and trying to control people, he reveals she is an A.I., a duplicate of the real Bain whom Arno replaced back when she solicited him to heal a scar on her face. He makes new bodies for Howard and Maria by recreating the Arsenal and Mistress bodies from the eScape. After learning of Arno's new plan, Dr. Shapiro (who is the actual mole) sneaks into a computer and warns F.R.I.D.A.Y. about it. When F.R.I.D.A.Y. relays that only Tony Stark can stop Arno, Tony insists that he is not the real Tony Stark, but is confronted by holographic manifestations of himself in different points of his life, until they all merge into him and he acknowledges that he has always been Tony. As Arno Stark sets off to the Stark Space Station to install his mind-controlling device to enslave all of humanity, Tony Stark's allies assault the Stark Unlimited HQ, confronting Sunset Bain's duplicate and Arno's Iron Legion. Jocasta uploads a submission code to Bain and they place Tony's body inside a bio-pod that restores his body to normalcy, uploads his consciousness back into his body. Using the Thirteenth Floor's access mechanisms, Tony and his allies reach the Stark Space Station from one of the elevators within. Employing his new Virtual Armor, Tony defeats Arno in combat. When Arno prepares to activate his mind-controlling device, the Extinction Entity suddenly appears. Arno ultimately defeats the Extinction Entity by willingly assimilating with it, causing it to explode. The entity is revealed to be a delusion caused by Arno's terminal disease, of which he would die by the end of 2020. Unable to stop Arno, Tony placed him in a simulation where he successfully stopped the entity. Afterwards, Jocasta uses the submission code to force Sunset Bain's duplicate to confess all of Baintronics' crimes, also claiming responsibility for tricking Tony into thinking he was an artificial intelligence and pulling the strings of the A.I. Army, putting an end to the robot revolution. Tony gives up Stark Unlimited to Bhang Robotics and he flies off in a new armor, reasserting himself as Iron Man. == Issues involved == === Main issues === Iron Man 2020 (vol. 2) #1–6 === Tie-In issues === 2020 Force Works #1–3 2020 Iron Age #1 2020 Ironheart #1–2 2020 Machine Man #1–2 2020 Rescue #1–2 2020 iWolverine #1–2 == Critical reception == According to Comic Book Roundup, the entire crossover received an average score of 6.4 out of 10 based on 36 reviews. William Tucker from ButWhyTho Podcast stated "Iron Man 2020 #6 is an initially exciting end to a great event that eventually feels deflated. There is absolutely nothing wrong with the art, Woods has been incredible throughout, but the ending that Slott and Gage chose to round out an epic tale like this left me feeling cold. And while there were loads of enjoyable cameos, their involvement ultimately didn't seem important to the story as a whole. Which is disappointing, as the rest of the event really was a fun and exciting ride." Anthony Wendel from MonkeysFightingRobots wrote "The 2020 event seems like it is taking some big risk, and it doesn't inspire a lot of confidence from the start. Iron Man 2020 #1 has set the stakes and shown some very intense players on both sides of the board. Sadly, if it doesn't unfold just the right way, many may feel cheated about defending the path characters are taking." == Collected editions ==

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  Kórsafn

  Kórsafn (Icelandic: Choral archives) is a sound installation by Icelandic artist Björk. Developed in collaboration with the technology company Microsoft, audio design firm Listen and architecture office firm Atelier Ace, the installation was designed for the lobby of the Sister City Hotel in New York City, United States, and launched in 2020. Elaborating 17 years of choral recording taken from Björk discography, Kórsafn consisted of an evolving music composition that uses an artificial intelligence model that responds to real-time weather data, creating a continuously shifting auditory experience. == Background and concept == In 2018, Björk announced her tenth concert tour Cornucopia, which debuted as a residency show at The Shed arts center. Before the start of the show, it was confirmed she would be accompanied by The Hamrahlid Choir. In 2019, while she was performing at The Shed, Björk stayed alongside the choir at the Sister City Hotel in New York City, where they would rehearse for the performances. While there, the Atelier Ace, which owns the Sister City boutique hotels, asked her to create a sound installation for the lobby. This was the second work commissioned by the hotel, a year after a similar piece by Julianna Barwick was featured in the lobby. Kórsafn is formed from two Icelandic words, "kór" ("choral") and "safn" ("archives"). The installation features recordings of Björk’s choral works from the previous 17 years, including compositions taken from her albums Medúlla (2004) and Biophilia (2011). The artificial intelligence system was developed in collaboration with Microsoft. The software processes data gathered from sensors and by a camera placed on the roof of the Sister City Hotel building and by a barometer. It then uses algorithms to determine how the choral elements are layered, pitched, and mixed in real time. The AI generate variations in real time by reacting to the passage of flocks, clouds, airplanes and changes in pressure. Data collected from sensors on the hotel’s rooftop include wind speed, cloud cover, and precipitation levels. These inputs influence the tonal quality, volume, and rhythmic patterns of the soundscape. The sound is played through hidden speakers in the hotel's lobby, blending with the architectural environment to create an immersive experience for guests. The AI system learns over time from the changing of the seasons and weather constantly evolving the sound - keeping in harmony with the sky. Björk described the project as an "AI tango," expressing curiosity about the interplay between her choral compositions and the AI's interpretations of environmental data. She noted the significance of the Hudson Valley's rich bird migrations, which influence the generative aspects of the soundscape. Due to the COVID-19 pandemic, the hotel closed while the installation was ongoing, making a version of the sound piece available online. == Reception == Kórsafn was positively reviewed. It's Nice That author Jenny Brewer described the piece as "a high-tech alternative to the smooth jazz that usually whistles through hotel lobbies". Writing for CNET, Scott Stein observed that it "is lovely and low-key, and honestly, it just blends into the background. It's nothing wild, but it fits the hotel", adding that "after an hour, it didn't get annoying, or too repetitive". The installation garnered several recognitions. It was nominated in the Fast Company's 2020 Innovation by Design Awards in the Hospitality category. It received three Clio Awards silver prizes, in the Use of Music in Experience/Activation, Sound Design and Emerging Technology categories.

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  Terminator (franchise)

  Terminator is an American media franchise created by James Cameron and Gale Anne Hurd. It is considered to be of the cyberpunk subgenre of science fiction. The franchise primarily focuses on the events leading to a future post-apocalyptic war between a synthetic intelligence known as Skynet, and a surviving resistance of humans led by John Connor. In this future, Skynet uses an arsenal of cyborgs known as Terminators, designed to mimic humans and infiltrate the resistance. Much of the franchise takes place in time periods prior to the Skynet takeover, with both humans and Terminators using time travel to attempt to alter the past and change the outcome of the future. A prominent Terminator model throughout the films is the T-800, commonly known as "the Terminator", with instances of this model portrayed by Arnold Schwarzenegger. The franchise began with the 1984 film The Terminator, written and directed by Cameron, with Hurd as producer. They would return for the 1991 sequel Terminator 2: Judgment Day (or T2). Both films were critical and commercial successes. Terminator 3: Rise of the Machines (or T3) was released in 2003 to positive reviews, followed by Terminator Salvation in 2009 to more negative reviews. Salvation was intended as the first in a new trilogy, which was later scrapped after the film rights were sold. Cameron was consulted for the 2015 film Terminator Genisys, a reboot branching off from the timeline of the original film. It was negatively received and performed poorly at the box-office. Cameron had a larger role as a producer of the 2019 film Terminator: Dark Fate, a direct sequel to T2 that ignores the three preceding films. As with Salvation, both Genisys and Dark Fate were planned as first installments of new trilogies, with the plans scrapped each time due to the films' poor box-office performances. Outside of the theatrical films, Cameron co-directed T2-3D: Battle Across Time, a 1996 theme park film-based attraction. It was produced as the original sequel to T2 and reunited its main cast. A television series, Terminator: The Sarah Connor Chronicles, was developed without Cameron's involvement and aired for two seasons in 2008 and 2009. It was also produced as a T2 sequel, taking place in an alternate timeline that ignores the third film and subsequent events. Terminator Zero, an anime series, premiered in August 2024. The franchise has also inspired several lines of comic books since 1988, and numerous video games since 1991. By 2010, the franchise had generated $3 billion in revenue. == Themes and setting == The central theme of the franchise is the battle for survival between the nearly-extinct human race and the world-spanning, synthetic intelligence that is Skynet. Skynet is positioned in the first film, The Terminator (1984), as a U.S. strategic "Global Digital Defense Network" computer system by Cyberdyne Systems which becomes self-aware. Shortly after activation, Skynet seemingly perceives all humans as a threat to its existence and formulates a plan to systematically wipe out humanity itself. The system initiates a nuclear first strike against Russia, thereby ensuring a devastating second strike and a nuclear holocaust which wipes out much of humanity in the resulting nuclear war. In the post-apocalyptic aftermath, Skynet later builds up its own autonomous machine-based military capability which includes the Terminators used against individual human targets and thereafter proceeds to wage a persistent total war against the surviving elements of humanity, some of whom have militarily organized themselves into a Resistance. At some point in this future, Skynet develops the capability of time travel and both it and the Resistance seek to use this technology in order to win the war; either by altering or accelerating past events or by preventing the apocalyptic timeline. === Judgment Day === In the franchise, Judgment Day (a reference to the biblical Day of Judgment) is the date on which Skynet becomes self-aware, in which case its creators panic and attempt to deactivate the network. As a result, Skynet perceives humanity as a threat and attempts to exterminate them. Skynet launches an all-out nuclear attack on Russia in order to provoke a nuclear counter-strike against the United States, knowing this will eliminate its human enemies. Due to time travel and the consequent ability to change the future, several differing dates are given for Judgment Day. In Terminator 2: Judgment Day (1991), Sarah Connor states that Judgment Day will occur on August 29, 1997. However, this date is delayed following the attack on Cyberdyne Systems in the same film. Judgment Day has various different dates in different timelines of the subsequent films, as well as the television series, creating a multiverse of temporal phenomena. In Terminator 3: Rise of the Machines (2003) and Terminator Salvation (2009), Judgment Day was postponed to July 2003. In Terminator: The Sarah Connor Chronicles (2008–2009), the attack on Cyberdyne Systems in the second film delayed Judgment Day to April 21, 2011. In Terminator Genisys (2015), the fifth film in the franchise, Judgment Day was postponed to an unspecified day in October 2017, attributed to altered events in both the future and the past. Sarah and Kyle Reese travel through time to the year 2017 and seemingly defeat Skynet, but the system core, contained inside a subterranean blast shelter, survives unknown to them, thus further delaying, rather than preventing, Judgment Day. In Terminator: Dark Fate (2019), the direct sequel to Terminator 2: Judgment Day, a date is not given for the new Judgment Day though it is named as such by Grace. Since Grace is a ten-year-old in 2020 and shown as a teenager in the post-Judgment Day world in flash-forwards throughout the film, Judgment Day occurs sometime in the early 2020s in this timeline. == Franchise rights == Before the first film was created, director James Cameron sold the rights for $1 to Gale Anne Hurd, his future wife, who produced the film, under the strict provision that he be allowed to direct it. Hemdale Film Corporation also became a 50-percent owner of the franchise rights, until its share was sold in 1990 to Carolco Pictures, a company founded by Andrew G. Vajna and Mario Kassar. Terminator 2: Judgment Day was released a year later. Carolco filed for bankruptcy in 1995 and its library was subsequently acquired by StudioCanal, which continues to own the franchise today. However, the rights to future Terminator films were ultimately put up for auction. By that time, Cameron had become interested in making a Terminator 3 film. The rights were ultimately auctioned to Vajna in 1997, for $8 million. Vajna and Kassar spent another $8 million to purchase Hurd's half of the rights in 1998, becoming the full owners of the franchise. Hurd was initially opposed to the sale of the rights, while Cameron had lost interest in the franchise and a third film. After the 2003 release of Terminator 3: Rise of the Machines, the franchise rights were sold in 2007 for about $25 million to The Halcyon Company, which produced Terminator Salvation in 2009. Later that year, the company faced legal issues and filed for bankruptcy, putting the franchise rights up for sale. The rights were valued at about $70 million. In 2010, the rights were sold for $29.5 million to Pacificor, a hedge fund that was Halcyon's largest creditor. In 2012, the rights were sold to Megan Ellison and her production company Annapurna Pictures for less than $20 million, a lower price than what was previously offered. The low price was because of the possibility of Cameron regaining the rights in 2019, as a result of new North American copyright laws. Megan's brother David Ellison and Skydance Productions produced Terminator Genisys in 2015. Cameron worked together with David Ellison to produce the 2019 film Terminator: Dark Fate. As the film neared its release, Hurd filed to terminate a copyright grant made 35 years earlier. Under this move, Hurd would again become a 50-percent owner of the rights with Cameron and Skydance could lose the rights to make any additional Terminator films beginning in November 2020, unless a new deal is worked out. Skydance responded that it had a deal in place with Cameron and that it "controls the rights to the Terminator franchise for the foreseeable future". == Films == === The Terminator (1984) === The Terminator is a 1984 science fiction action film released by Orion Pictures, co-written and directed by James Cameron and starring Arnold Schwarzenegger, Linda Hamilton and Michael Biehn. It is the first work in the Terminator franchise. In the film, robots take over the world in the near future, directed by the artificial intelligence Skynet. With its sole mission to completely annihilate humanity, it develops android assassins called Terminators that outwardly appear human. A man named John Connor starts the Tech-Com resistance to fight the machi

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  LENA Foundation

  The LENA Foundation is an American nonprofit organisation which provides tools for measuring children's language acquisition and exposure. Specifically, the LENA system consists of a digital language processor which is worn by a child and records and analyses their auditory environment, using propriety software. It then presents a summary of child-adult conversation, such as conversation turns and word counts. The purpose of the LENA system is to encourage interactive talk between children (between the age of two to forty-eight months) and their caretakers. The LENA system is also used for research; while useful for researchers who wish to save transcription costs or observe the child in its natural state, the accuracy of this system, while often quite high, varies between contexts, for example notably in the case of hard of hearing children. Because of this, several researchers recommend caution in using only the LENA system on its own for the purposes of scientific research. == History == The LENA Foundation was established in 2009 by Terrance and Judith Paul, founders of Renaissance Learning, Inc., with the purpose of aiding children with disabilities and assisting with early learning. They were inspired by the book "Meaningful Differences in the Everyday Experience of American Children" by Dr. Betty Hart and Dr. Todd Risley. A pilot version of the LENA system was launched in February 2006. The LENA Research Foundation was registered as a tax-exempt 501(c)(3) nonprofit in September 2010. The organisation was renamed simply LENA in 2018 and adopted the tagline "Building brains through early talk." LENA has been used for parental feedback, linguistics or paediatrics research, and for specific clinical cases. == Scientific background == In 2018, research using the LENA system showed that there was a link between children's conversational turns and activation of Broca's area (a part of the brain responsible, although not necessarily essential, for language processing). The LENA foundation cites research by its own employees as evidence for the scientific basis of its technology. Said research claims that verbal interaction with young children has an effect on language acquisition, including verbal comprehension skills during adolescence. == LENA System == The LENA software analyses a child's natural language environment, such as verbal exposure, and provides several metrics, such as adult and child speech time, television/recorded audio time, word count, or conversation turn count. The LENA hardware is a recorder that is usually placed into a child's specially-designed vest. The software was trained on over 65,000 hours of manually annotated American English audio recordings. It splits the audio into segments which are categorised as "key child", "other child", "male adult", "noise", etc. The advantages of LENA as opposed to manual transcription are its speed and ease of use; the disadvantages are its potential inaccuracies and lack of transcription capability (which LENA does not profess to attempt). The LENA system has also been criticised for prioritising quantity of speaking over quality (i.e., mastery of the language, as opposed to babble). == Product lines == === LENA Start === LENA Start is a program for parents that utilises feedback from the LENA System in conjunction with weekly group sessions in order to address the home language environment. It was introduced in 2015 and implemented across several U.S. states. In October 2020, during the restrictions of the COVID-19 pandemic, Read Aloud Delaware began a virtual LENA Start program with families statewide, where parents received feedback and participated in one-hour Zoom workshops each week during the 10-week program. === LENA Grow === LENA Grow is a professional development program for teachers in early childhood classrooms. Before launching at sites around the country, the program was first piloted in Escambia County, Florida. === LENA Home === LENA Home is a supplement to existing parent coaching curricula. Typically, home visitors facilitate the use of the LENA System to help parents track their progress towards increasing interactive talk in their homes. === Developmental Snapshot === The LENA Developmental Snapshot, based on a 52-question parent survey, assesses both expressive and receptive language skills and provides an estimate of a child's developmental age from 2 months to 36 months.

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  DialogOS

  DialogOS is a graphical programming environment to design computer system which can converse through voice with the user. Dialogs are clicked together in a Flowchart. DialogOS includes bindings to control Lego Mindstorms robots by voice and has bindings to SQL databases, as well as a generic plugin architecture to integrate with other types of backends. DialogOS is used in computer science courses in schools and universities to teach programming and to introduce beginners in the basic principles of human/computer interaction and dialog design. It has also been used in research systems. DialogOS was initially developed commercially by CLT Sprachtechnologie GmbH until its liquidation in 2017. The rights were then acquired by Saarland University and the software was released as open-source. == Bindings to Lego Mindstorms NXT == DialogOS can control the LEGO Mindstorms NXT Series. It uses sensor-nodes to obtain values for the following sensors: noise sensor ultrasonic sensor touch sensor luminosity sensor

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  On a Red Station, Drifting

  On a Red Station, Drifting is a 2012 science fiction novella by Aliette de Bodard. Set in her Xuya Universe, it focuses on two women aboard a space station with a failing artificial intelligence. It received critical acclaim, becoming a finalist for the 2012 Nebula Award for Best Novella, the 2013 Hugo Award for Best Novella, and the 2013 Locus Award for Best Novella. == Plot == Lê Thi Linh is a magistrate of the Dai Viet Empire who is forced to flee her planet after criticizing the Emperor’s wartime policies. At the same time, rebel groups seize control of her planet and kill most of her subordinates. Linh seeks refuge with her distant relatives on Prosper Station. Prosper is controlled by an artificial intelligence called the Honoured Ancestress. Lê Thi Quyen, Linh’s cousin by marriage, manages the day-to-day operations of Prosper while her husband is away at war. Quyen and Linh immediately fall into conflict. Quyen’s brother-in-law Huu Hieu sells his mem-implants, which are copies of their ancestors’ consciousnesses. Meanwhile, the Honoured Ancestress experiences increasingly severe technical problems. Hieu and Linh become close. Hieu plans use the money from the sale of the implants to leave Prosper and marry his lover on a different station. Linh is upset knowing that she will never be able to leave. A visiting cousin, Lady Oahn, provides schematics for the repair of the Honoured Ancestress. In an effort to hurt Quyen, Linh writes an unflattering poem at a banquet honoring Oanh. In doing so, she reveals that Hieu is trying to leave Prosper. Hieu attempts suicide out of shame, but Linh rescues him. Quyen is able to repair the Honoured Ancestress, restoring her functionality at the expense of erasing many of her memories. The Emperor’s Embroidered Guard arrives at Prosper Station in search of Linh. Linh finds the missing mem-implants and returns them to Quyen. Quyen and Linh briefly reconcile before Linh is arrested and removed from Prosper Station. == Major themes == A review in Kirkus wrote that the novel's "familiar setting" was a "departure point" for the novel to explore its themes. The novel explores family ties; almost everyone on Prosper Station is related in some fashion. Additionally, the use of ancestors' mem-implants further explores the concept of family ties, with some descendants being considered more "worthy" than others due to their higher number of implants. The novel also explores questions of worth, as those who fail at ability tests are often forced to become the "lesser partners" in marriages and are discriminated against due to their perceived lack of achievement. The author notes that it is interesting that gender plays no role in the question of worth, and that the majority of the men in the story are actually the "lesser partner" in their marriage. == Style == The novel is divided into three sections. Liz Bourke wrote that each section builds thematically "towards an emotional crescendo". == Reception == Writing for Locus, Liz Bourke praised the novel's exploration of interpersonal conflict between Linh and Quyen, writing that "essentially subverts the popularly-understood derogatory overtones of 'domestic conflict'". Bourke also praised the story's tension, calling it "so well-strung the prose practically vibrates under its influence". A review for Kirkus stated that the novel is a "beautifully realized story and the characters, plot, theme and writing are expertly crafted." === Awards ===

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  Death of Elaine Herzberg

  The death of Elaine Herzberg (August 2, 1968 – March 18, 2018) was the first recorded case of a pedestrian fatality involving a self-driving car, after a collision that occurred late in the evening of March 18, 2018. Herzberg was pushing a bicycle across a four-lane road in Tempe, Arizona, United States, when she was struck by an Uber test vehicle, which was operating in self-drive mode with a human safety backup driver sitting in the driving seat. Herzberg was taken to the local hospital where she died of her injuries. Following the fatal incident, the National Transportation Safety Board (NTSB) issued a series of recommendations and sharply criticized Uber. The company suspended testing of self-driving vehicles in Arizona, where such testing had been approved since August 2016. Uber chose not to renew its permit for testing self-driving vehicles in California when it expired at the end of March 2018. Uber resumed testing in December 2018, starting in Pittsburgh, Pennsylvania. In March 2019, Arizona prosecutors ruled that Uber was not criminally responsible for the crash. The back-up driver of the vehicle was charged with negligent homicide, pled guilty to endangerment, and was sentenced to three years' probation. While Herzberg was the first pedestrian killed by a self-driving car, driver Gao Yaning died in a Tesla semi-autonomous car two years earlier. A reporter for The Washington Post compared Herzberg's fate with that of Bridget Driscoll who, in the United Kingdom in 1896, was the first pedestrian to be killed by an automobile. The Arizona incident has magnified the importance of collision avoidance systems for self-driving vehicles. == Collision summary == Herzberg was crossing Mill Avenue (North) from west to east, approximately 360 feet (110 m) south of the intersection with Curry Road, outside the designated pedestrian crosswalk, close to the Red Mountain Freeway. She was pushing a bicycle laden with shopping bags, and had crossed at least two lanes of traffic when she was struck at approximately 9:58 pm MST (UTC−07:00) by a prototype Uber self-driving car based on a Volvo XC90, which was traveling north on Mill. The vehicle had been operating in autonomous mode since 9:39 pm, nineteen minutes before it struck and killed Herzberg. The car's human safety backup driver, Rafaela Vasquez, did not intervene in time to prevent the collision. Vehicle telemetry obtained after the crash showed that the human operator responded by moving the steering wheel less than a second before impact, and she engaged the brakes less than a second after impact. == Cause investigation == The county district attorney's office recused itself from the investigation, due to a prior joint partnership with Uber promoting their services as an alternative to driving under the influence of alcohol. Accounts differ on the speed limit at the place of the incident. According to Tempe police the car was traveling in a 35 mph (56 km/h) zone, but this is contradicted by a posted speed limit of 45 mph (72 km/h). The National Transportation Safety Board (NTSB) sent a team of federal investigators to gather data from vehicle instruments, and to examine vehicle condition along with the actions taken by the safety driver. Their preliminary findings were substantiated by multiple event data recorders and proved the vehicle was traveling 43 miles per hour (69 km/h) when Herzberg was first detected 6 seconds (378 feet (115 m)) before impact; during 4.7 seconds the self driving system did not infer that emergency braking was needed. A vehicle traveling 43 mph (69 km/h) can generally stop within 89 feet (27 m) once the brakes are applied. The machine needed to be 1.3 seconds (82 feet (25 m)) away prior to discerning that emergency braking was required, whereas at least that much distance was required to stop. The system failed to behave properly. A total stopping distance of 76 feet itself would imply a safe speed under 25 mph (40 km/h). Human intervention was still legally required. Computer perception–reaction time would have been a speed limiting factor had the technology been superior to humans in ambiguous situations; however, the nascent computerized braking technology was disabled the day of the crash, and the machine's apparent 4.7-second perception–reaction (alarm) time allowed the car to travel 250 feet (76 m). Video released by the police on March 21 showed the safety driver was not watching the road moments before the vehicle struck Herzberg. === Environment === In widely disseminated remarks that would shape the narrative about the crash, which were later seen as prejudicial and subsequently contradicted by her own department, Tempe Police Chief Sylvia Moir was quoted stating that the collision was "unavoidable" based on the initial police investigation, which included a review of the video captured by an onboard camera. Moir faulted Herzberg for crossing the road in an unsafe manner: "It is dangerous to cross roadways in the evening hour when well-illuminated, managed crosswalks are available." According to Uber, safety drivers were trained to keep their hands very close to the wheel all the time while driving the vehicle so they were ready to quickly take control if necessary. The driver said it was like a flash, the person walked out in front of them. His [sic] first alert to the collision was the sound of the collision. [...] it's very clear it would have been difficult to avoid this collision in any kind of mode (autonomous or human-driven) based on how she came from the shadows right into the roadway. Tempe police released video on March 21, 2018, showing footage recorded by two onboard cameras: one forward-looking, and one capturing the safety driver's actions. The forward-facing video shows that the self-driving car was traveling in the far right lane when it struck Herzberg. The driver-facing video shows the safety driver was looking down prior to the collision. The Uber operator is responsible for intervening and taking manual control when necessary as well as for monitoring diagnostic messages, which are displayed on a screen in the center console. In an interview conducted after the crash with NTSB, the driver stated she was monitoring the center stack at the time of the collision. After the Uber video was released, journalist Carolyn Said noted the police explanation of Herzberg's path meant she had already crossed two lanes of traffic before she was struck by the autonomous vehicle. The Marquee Theatre and Tempe Town Lake are west of Mill Avenue, and pedestrians commonly cross mid-street without detouring north to the crosswalk at Curry. According to reporting by the Phoenix New Times, Mill Avenue contains what appears to be a brick-paved path in the median between the northbound and southbound lanes; however, posted signs prohibit pedestrians from crossing in that location. When the second of the Mill Avenue bridges over the town lake was added in 1994 for northbound traffic, the X-shaped crossover in the median was installed to accommodate the potential closing of one of the two road bridges. The purpose of this brick-paved structure is purely to divert cars from one side to the other if a bridge is closed to traffic, and although it may look like a crosswalk for pedestrians, it is in fact a temporary roadway with vertical curbs and warning signs. === Software issues === Michael Ramsey, a self-driving car expert with Gartner, characterized the video as showing "a complete failure of the system to recognize an obviously seen person who is visible for quite some distance in the frame. Uber has some serious explaining to do about why this person wasn't seen and why the system didn't engage." The NTSB preliminary report, however, noted that the software did order the car to brake 1.3 seconds before the collision. A video shot from the vehicle's dashboard camera showed the safety driver looking down, away from the road. It also appeared that the driver's hands were not hovering above the steering wheel, which is what drivers are instructed to do so they can quickly retake control of the car. Uber had moved from two employees in every car to one. The paired employees had been splitting duties: one ready to take over if the autonomous system failed, and another to keep an eye on what the computers were detecting. The second person was responsible for keeping track of system performance as well as labeling data on a laptop computer. Mr. Kallman, the Uber spokesman, said the second person was in the car for purely data related tasks, not safety. When Uber moved to a single operator, some employees expressed safety concerns to managers, according to the two people familiar with Uber's operations. They were worried that going solo would make it harder to remain alert during hours of monotonous driving. The recorded telemetry showed the system had detected Herzberg six seconds before the crash, and classified her first as an unknown object, then as a

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  Fyuse

  Fyuse is a spatial photography app which lets users capture and share interactive 3D images. By tilting or swiping one's smartphone, one can view such "fyuses" from various angles — as if one were walking around an object or subject. The app blends photography and video to create an interactive medium and was first published for iOS in April 2014. The Android version was released at the end of 2014. == The app == Fyuse lets users capture panoramas, selfies, and full 360° views of objects and allows one to view captured moments from different angles. It has its own personal gallery, social network and standalone web integration. With the app, Fyusion also created a social networking platform similar to Instagram. Fyuses can be shared, commented on, liked and re-shared to one's followers (called Echoes). One can build a network of followers and with engagement tracking, one can see how many times an image has been interacted with The images can also be saved for private, offline view, or shared to other social networks, like Facebook or Twitter, or embedded on a website where the images can be interacted with by desktop users via dragging the mouse. Furthermore, in the compass tab other fyuses can be discovered using the app's system of tags and categories. One's Fyuse feed is prepopulated with top users, and one can follow people to see when they post a new fyuse. The app will also find one's friends if one signs up with Facebook or connects it with one's Twitter account. To create a fyuse one moves around a person or object with one's phone's camera in one direction or moving/tilting one's phone around while holding one's finger on the screen. By combining photography and video the app allows one to capture moments that one may not have otherwise been able to capture by recording not one moment in time but stitched together little moments. According to Fyusion CEO Radu Rusu, a photo freezes a moment in time, while a video captures moments in a linear timeline — both still flat, when viewed. A fyuse image captures a moment in space, where one can not only see one side of something, but also around it. When it is done rendering, fyuses can also be edited – one can trim the fyuse for length and edit the brightness, contrast, exposure, saturation and sharpness. One can also add a vignette and apply a filters, with options to adjust their intensity. After editing, one can write a description, add hashtags, and tag parts of the fyuse before one can (voluntarily) publish and share it. Version 1.0 has been described as "alpha prototype" and version 2.0 was released on 17 December 2014. Version 3.0 introduced 3D tagging by which users can layer 3D graphic that animate accordingly with each interaction to add some context to the content. Version 4.0 was released on December 21, 2016 for iOS. Since January 2016 (v3.2) the app allows the export of fyuses as Live Photos. The app has also been described as a more sophisticated version of 3D stickers and flip images. == Applications == The app has many applications for e-commerce such as for fashion designers who want to showcase a garment from every angle, or real estate listings and Airbnb-type sites that want to make their rental properties seem as enticing as possible. The app can also be used for interactive art, 360° panoramas and selfies. == History == San Francisco-based Fyusion Inc.'s three founders — Radu B. Rusu, CTO Stefan Holzer, and VP of Engineering Stephen Miller — worked together at Willow Garage, the robotics research lab started by early Google employee Scott Hassan in the area of "personal robotics" — Hassan decided to turn the lab into more of an incubator, suggesting that the members spin off their technologies into consumer-facing enterprises. Rusu first set out with an open-source 3D perception software startup called Open Perception. Fyusion was officially founded in 2013, and soon after Rusu and his cofounders patented the technology for spatial photography. The company closed a seed funding round at the end of May, raising $3.35 million from investors, including an angel investment from Sun Microsystems cofounder Andreas Bechtolsheim. In 2014 the Fyuse team consisted of 13 employees, mostly engineers and designers, recruited from around the globe. In March 2015 the team displayed their app at Katy Perry's premiere for the movie "Prismatic World Tour on Epix" where Perry also took Fyuse for a test run. == Augmented reality == In September 2016 Fyusion unveiled its platform for creating augmented reality content using ones smartphone. It takes the images from ones smartphone and converts them into 3D holographic images, which one can then view on an AR headset. According to Rusu "by making it easy for people to capture their surroundings on any mobile device, [Fyusion is] revolutionizing the way that people view the world around them" and also states that for "AR to be successful, anyone should be able to create content for it" opposed to the current "small number of content creators and an even smaller number of hardware players". According to him "the applications of [Fyusion's] technology for consumers and businesses are incredibly limitless". The platform uses the company's patented 3D spatio-temporal platform that uses advanced sensor fusion, machine learning and computer vision algorithms and part of the platform is built into the Fyuse app. Before committing to releasing a separate consumer product the company intends to wait until the HoloLens device becomes available to the public. Until then any Fyuse representation created using Fyuse is AR ready and will be able to be shown in HoloLens in the future. == Fyuse - Point of No Return == Fyuse - Point of No Return is a science fiction short advert for Fyuse 3.0 in which Fyuse's digital medium is extrapolated into the future. In the film a woman uses a mini scanning-drone to 3D scan a tree with Fyuse and later recreate it as an augmented reality object at another place.

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  I Have No Mouth, and I Must Scream

  "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  Libby Heaney

  Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)

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  Hyperion Cantos

  The Hyperion Cantos is a series of science fiction novels by Dan Simmons. The title was originally used for the collection of the first pair of books in the series, Hyperion and The Fall of Hyperion, and later came to refer to the overall storyline, including Endymion, The Rise of Endymion, and a number of short stories. More narrowly, inside the fictional storyline, after the first volume, the Hyperion Cantos is an epic poem written by the character Martin Silenus covering in verse form the events of the first two books. Of the four novels, Hyperion received the Hugo and Locus Awards in 1990; The Fall of Hyperion won the Locus and British Science Fiction Association Awards in 1991; and The Rise of Endymion received the Locus Award in 1998. All four novels were also nominated for various science fiction awards. == Works == === Hyperion (1989) === First published in 1989, Hyperion has the structure of a frame story, similar to Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. The story weaves the interlocking tales of a diverse group of travelers sent on a pilgrimage to the Time Tombs on Hyperion. The travelers have been sent by the Hegemony (the government of the human star systems), the All Thing, and the Church of the Final Atonement, alternately known as the Shrike Church, to make a request of the Shrike. As they progress in their journey, each of the pilgrims tells their tale. === The Fall of Hyperion (1990) === This book concludes the story begun in Hyperion. It abandons the storytelling frame structure of the first novel, and is instead presented primarily as a series of dreams by John Keats. === Endymion (1996) === The story commences 274 years after the events in the previous novel. Few main characters from the first two books are present in the later two. The main character is Raul Endymion, an ex-soldier who receives a death sentence after an unfair trial. He is rescued by Martin Silenus and asked to perform a series of rather extraordinarily difficult tasks. The main task is to rescue and protect the daughter of Brawne Lamia (one of the main characters of Hyperion), Aenea, a messiah coming from the time period just after the first books via time travel. The Catholic Church has become a dominant force in the human universe and views Aenea as a potential threat to their power. The group of Aenea, Endymion, and A. Bettik (an android) evades the Church's forces on several worlds through use of the Consul's spaceship, ending the story on Earth. === The Rise of Endymion (1997) === This final novel in the series finishes the story begun in Endymion, expanding on the themes in Endymion, as Raul and Aenea battle the Church and meet their respective destinies. === Short stories === The series also includes three short stories: "Remembering Siri" (1983, included almost verbatim in Hyperion) "The Death of the Centaur" (1990) "Orphans of the Helix" (1999) == Development == The Hyperion universe originated when Simmons was an elementary school teacher, as an extended tale he told at intervals to his young students; this is recorded in "The Death of the Centaur", and its introduction. It then inspired his short story "Remembering Siri", which eventually became the nucleus around which Hyperion and The Fall of Hyperion formed. After the quartet was published came the short story "Orphans of the Helix". "Orphans" is currently the final work in the Cantos, both chronologically and internally. The original Hyperion Cantos has been described as a novel published in two volumes, published separately at first for reasons of length. In his introduction to "Orphans of the Helix", Simmons elaborates: Some readers may know that I've written four novels set in the "Hyperion Universe"—Hyperion, The Fall of Hyperion, Endymion, and The Rise of Endymion. A perceptive subset of those readers—perhaps the majority—know that this so-called epic actually consists of two long and mutually dependent tales, the two Hyperion stories combined and the two Endymion stories combined, broken into four books because of the realities of publishing. == Influences == Much of the appeal of the series stems from its extensive use of references and allusions from a wide array of thinkers such as Teilhard de Chardin, John Muir, Norbert Wiener, and to the poetry of John Keats, the famous 19th-century English Romantic poet, Norse mythology, and the monk Ummon. A large number of technological elements are acknowledged by Simmons to be inspired by elements of Out of Control: The New Biology of Machines, Social Systems, and the Economic World. The Hyperion series has many echoes of Jack Vance, explicitly acknowledged in one of the later books. The title of the first novel, "Hyperion", is taken from one of Keats's poems, the unfinished epic Hyperion. Similarly, the title of the third novel is from Keats' poem Endymion. Quotes from actual Keats poems and the fictional Cantos of Martin Silenus are interspersed throughout the novels. Simmons goes so far as to have two artificial reincarnations of John Keats ("cybrids": artificial intelligences in human bodies) play a major role in the series. == Setting == Much of the action in the series takes place on the planet Hyperion. It is described as having one-fifth less gravity than Earth standard. Hyperion has a number of peculiar indigenous flora and fauna, notably Tesla trees, which are essentially large electricity-spewing trees. It is also a "labyrinthine" planet, which means that it is home to ancient subterranean labyrinths of unknown purpose. Most importantly, Hyperion is the location of the Time Tombs, large artifacts surrounded by "anti-entropic" fields that allow them to move backward through time. In the fictional universe of the Hyperion Cantos, the Hegemony of Man encompasses over 200 planets. Faster than light communications technology, Fatlines, are said to operate through tachyon bursts. However, in later books it is revealed that they operate through the Void Which Binds. The Farcaster network was given to humanity by the TechnoCore and again it was another use of the Void Which Binds that allowed this instantaneous travel between worlds. The Hawking Drive was developed by human scientists, allowing the faster than light travel which led to the Hegira (from the Arabic word هجرة Hijra, meaning 'migration'). The Gideon drive, a Core-provided starship drive, allows for near-instantaneous travel between any two points in human-occupied space. The drive's use kills any human on board a Gideon-propelled starship; thus, the technology is only of use with remote probes or when used in conjunction with the Pax's resurrection technology. The resurrection creche can regenerate someone carrying a cruciform from their remains. Treeships are living trees that are propelled by ergs (spider-like solid-state alien being that emits force fields) through space. === The Shrike === The region of the Tombs is also the home of the Shrike, a menacing half-mechanical, half-organic four-armed creature that features prominently in the series. It appears in all four Hyperion Cantos books and is an enigma in the initial two; its purpose is not revealed until the second book, but is still left nebulous. The Shrike appears to act both autonomously and as a servant of some unknown force or entity. In the first two Hyperion books, it exists solely in the area around the Time Tombs on the planet Hyperion. Its portrayal is changed significantly in the last two books, Endymion and The Rise of Endymion. In these novels, the Shrike appears effectively unfettered and protects the heroine Aenea against assassins of the opposing TechnoCore. Surrounded in mystery, the object of fear, hatred, and even worship by members of the Church of the Final Atonement (the Shrike Cult), the Shrike's origins are described as uncertain. It is portrayed as composed of razorwire, thorns, blades, and cutting edges, having fingers like scalpels and long, curved toe blades. It has the ability to control the flow of time, and may thus appear to travel infinitely fast. The Shrike may kill victims in a flash or it may transport them to an eternity of impalement upon an enormous artificial 'Tree of Thorns,' or 'Tree of Pain' in Hyperion's distant future. The Tree of Thorns is described as an unimaginably large, metallic tree, alive with the agonized writhing of countless human victims of all ages and races. It is also hinted in the second book that the Tree of Thorns is actually a simulation generated by a mystical interface which connects to human brains via a strong and pulsing (as if it were alive) cord. The name Shrike seems a reference to birds of the shrike family, a family of birds that impales their victims on thorns, spines, or twigs. === Worlds and Systems === In the fictional universe of the Hyperion Cantos, the Hegemony of Man encompasses over 200 planets. The following planets appear or are specifically mentioned in the Hyperion Cantos. Planets of

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  Frankenstein complex

  The Frankenstein complex is a term coined by Isaac Asimov in his robot series, referring to the fear of mechanical men. == History == Some of Asimov's science fiction short stories and novels predict that this suspicion will become strongest and most widespread in respect of "mechanical men" that most-closely resemble human beings (see android), but it is also present on a lower level against robots that are plainly electromechanical automatons. The "Frankenstein complex" is similar in many respects to Masahiro Mori's uncanny valley hypothesis. The name, "Frankenstein complex", is derived from the name of Victor Frankenstein in the 1818 novel Frankenstein; or, The Modern Prometheus by Mary Shelley. In Shelley's story, Frankenstein created an intelligent, somewhat superhuman being, but he finds that his creation is horrifying to behold and abandons it. This ultimately leads to Victor's death at the conclusion of a vendetta between himself and his creation. In much of his fiction, Asimov depicts the general attitude of the public towards robots as negative, with ordinary people fearing that robots will either replace them or dominate them, although dominance would not be allowed under the specifications of the Three Laws of Robotics, the first of which is: "A robot may not harm a human being or, through inaction, allow a human being to come to harm." However, Asimov's fictitious earthly public is not fully persuaded by this, and remains largely suspicious and fearful of robots. I, Robot's short story "Little Lost Robot" is about this "fear of robots". In Asimov's robot novels, the Frankenstein complex is a major problem for roboticists and robot manufacturers. They do all they can to reassure the public that robots are harmless, even though this sometimes involves hiding the truth because they think that the public would misunderstand it. The fear by the public and the response of the manufacturers is an example of the theme of paternalism, the dread of paternalism, and the conflicts that arise from it in Asimov's fiction. The same theme occurs in many later works of fiction featuring robots, although it is rarely referred to as such.

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  The Last Question

  "The Last Question" is a science fiction short story by American writer Isaac Asimov. It first appeared in the November 1956 issue of Science Fiction Quarterly; and in the anthologies in the collections Nine Tomorrows (1959), The Best of Isaac Asimov (1973), Robot Dreams (1986), The Best Science Fiction of Isaac Asimov (1986), the retrospective Opus 100 (1969), and Isaac Asimov: The Complete Stories, Vol. 1 (1990). While he also considered it one of his best works, "The Last Question" was Asimov's favorite short story of his own authorship, and is one of a loosely connected series of stories concerning a fictional computer called Multivac. Through successive generations, humanity questions Multivac on the subject of entropy. The story blends science fiction, theology, and philosophy. It has been recognized as a counterpoint to Fredric Brown's short short story "Answer", published two years earlier. == History == In conceiving Multivac, Asimov was extrapolating the trend towards centralization that characterized computation technology planning in the 1950s to an ultimate centrally managed global computer. After seeing a planetarium adaptation of his work, Asimov "privately" concluded that the story was his best science fiction yet written. He placed it just higher than "The Ugly Little Boy" (September 1958) and "The Bicentennial Man" (1976). The story asks the question of humanity's fate, and human existence as a whole, highlighting Asimov's focus on important aspects of our future like population growth and environmental issues. "The Last Question" ranks with "Nightfall" (1941) as one of Asimov's best-known and most acclaimed short stories. He wrote in 1973 that he appreciated how easy the story was to write after he had the idea. He was so often approached by fans who remembered the story but not the title, that in one instance he gave the answer, correctly, before the fan had even described the story. == Plot summary == By the year 2061, Multivac, a self-adjusting and self-correcting computer, has allowed mankind to reach beyond the planetary confines of Earth and harness solar energy. Two technicians, Adell and Lupov, celebrate Multivac's role in this development. Over drinks, they discuss that the sun will expire due to the second law of thermodynamics, which states that entropy inevitably increases. When Adell asks Multivac whether this can be reversed, the computer responds that it has insufficient data to answer. In several episodes over ten trillion years, increasingly advanced humans pose the same question to the computers of their time. Each time the computer gives the same response. At the heat death of the universe, the last disembodied consciousness of Man asks the question a final time of a computer that resides in hyperspace before merging with it. After collecting the last data from the dead universe, the computer continues to process it alone and finds an answer to the last question. Having no one to tell it to, it proceeds to demonstrate by saying "LET THERE BE LIGHT!" == Themes == === Philosophy === Although science and religion are frequently presented as having an oppositional relationship, "The Last Question" explores some biblical contexts ("Let there be light"). In Asimov's story, aspects like the great meaning of existence are culminated through both technology and human knowledge. The evolution from Multivac to AC also emulates a sort of cycle of existence. === Dystopian happy ending === Multivac's purpose was conceptualized with a desire for knowledge, promoting the idea that more knowledge will lead to a better and more fruitful future for humanity. However, the computer's answers regarding the future suggest an inevitable exhaustion of the Sun, and this thirst for knowledge becomes an obsession with the future. The story's end displays a dichotomy between annihilation and peace. == Dramatic adaptations == === Planetarium shows === "The Last Question" was first adapted for the Abrams Planetarium at Michigan State University (in 1966), featuring the voice of Leonard Nimoy, as Asimov wrote in his autobiography In Joy Still Felt (1980). It was adapted for the Strasenburgh Planetarium in Rochester, New York (in 1969), under the direction of Ian C. McLennan. It was adapted for the Edmonton Space Sciences Centre in Edmonton, Alberta (early 1970s), under the direction of John Hault. It was adapted for the Gates Planetarium at the Denver Museum of Natural History in 1973 under the direction of Mark B. Peterson It subsequently played at the: Fels Planetarium of the Franklin Institute in Philadelphia in 1973 Planetarium of the Reading School District in Reading, Pennsylvania in 1974 Buhl Planetarium, Pittsburgh in 1974 The Space Transit Planetarium of the Museum of Science in Miami during 1977 Vanderbilt Planetarium in Centerport New York, in 1978, read by singer-songwriter and Long Island resident Harry Chapin. Hansen Planetarium in Salt Lake City, Utah (in 1980 and 1989) A reading of the story was played on BBC Radio 7 in 2008 and 2009. Gates Planetarium in Denver, Colorado (in early 2020) In 1989 Asimov updated the star show adaptation to add in quasars and black holes. The story was adapted as a comic book by Don Thompson and drawn by John Estes in the third issue of ORBiT.

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  Willy's Chocolate Experience

  Willy's Chocolate Experience was an unlicensed event based on Charlie and the Chocolate Factory that took place in Glasgow, Scotland, in February 2024. The event was promoted as an immersive and interactive family experience, illustrated on a promotional website with "dreamlike" AI-generated images. Once it was discovered that the event was held in a sparsely decorated warehouse, many customers complained, and the police were called to the venue. The event went viral on the Internet and attracted worldwide media attention. The event drew comparisons to the 2008 Lapland New Forest controversy, the 2014 Tumblr fan convention DashCon, and Billy McFarland's 2017 Fyre Festival. == Background and advertising == The event was stated to take place over the weekend of 24–25 February 2024. Promotional material advertised "stunning and intricately designed settings inspired by Roald Dahl's timeless tale" and "an array of delectable treats scattered throughout the experience". Both the website and promotional material used poor-quality AI-generated images, which included several spelling errors such as "cartchy tuns" and "a pasadise of sweet teats" and nonsensical words such as "catgacating" and "exarserdray". Tickets cost up to £35 per person. While the event was being promoted in early February, a Reddit user who saw Facebook advertisements suspected it to be a scam and was surprised that people were apparently buying tickets based solely on AI-generated images. The event was organised by House of Illuminati, a company registered to Billy Coull which claimed to offer "unparalleled immersive experiences". An investigation by Third Force News conducted after the event described Coull's previous "murky involvement in the charity sector." Coull had previously registered several other companies and claimed to work as a "consultant" for the now-defunct brand Empowerity, formerly known as the charity Gowanbank Community Hub. In 2021, Gowanbank was forced to remove claims of a £95-per-ticket fundraising "gala" at DoubleTree Glasgow which had been falsely advertised to feature TV personalities and performers including Gok Wan and Joe Black. Coull had claimed to be a doctor with a fake degree from a false university that provided "metaphysical degrees", and had attempted to use the charity to win the 2022 Glasgow City Council election in the seat of Greater Pollok, though he never registered for the election. In the summer of 2023, he independently published 17 AI-generated books on various topics, including vaccine conspiracy theories. Rolling Stone concluded that House of Illuminati's websites and event descriptions were likely written by an AI chatbot, such as ChatGPT. Three actors were hired to portray "Willy McDuff", a character based on Willy Wonka. One of them, Paul Connell, said that the cast were given one day to learn the script. Another actor playing Willy McDuff was 18-year-old Michael Archibald; the experience was his first ever acting job, and he was given the script at 6 pm on Friday before the event began on Saturday. Kirsty Paterson, an actress who played one of the Oompa-Loompas (called "Wonkidoodles" in the script), said that the job offer had been posted on Indeed.com and offered £500 for two days of work. The day before the event, the actors attended a dress rehearsal at the sparsely decorated venue. They were told that others would be working through the night on the production. When they returned on the day of the event, the venue was in the same condition. Paterson was given her costume an hour before the event opened, saying that "We were just handed an Amazon box that probably arrived that morning." == Script == The script for the event is titled Wonkidoodles at McDuff's Chocolate Factory: A Script, and describes Willy McDuff leading an audience through the Garden of Enchantment and the Twilight Tunnel. Once there, they are confronted by a character called The Unknown, described as "an evil chocolate maker who lives in the walls" who seeks to steal the magical "Anti-Graffiti Gobstopper" from McDuff's Imagination Lab. The gobstopper is "a sweet so powerful, it can make any room sparkle without lifting a finger". McDuff defeats The Unknown by amplifying the power of the gobstopper and causing his enemy to be "gently swept up by a robotic vacuum, humorously ending the confrontation". The script was unusual in that it included stage directions for the audience, and descriptions of their reactions. Connell described it as "15 pages of AI-generated gibberish of me just monologuing these mad things", and compared the vacuum cleaner plot point to that of the Nintendo video game Luigi's Mansion. Interviewed after the event, Coull claimed to have written the script himself, using AI only to "check spelling, grammar, and continuity" as he said he had dyslexia. == Event == The event was held at the Box Hub Warehouse event space in Whiteinch, an industrial area of Glasgow. Customers described the venue as "little more than an abandoned, empty warehouse", with set dressings including a small bouncy castle, AI-generated backdrop images pinned to some of the walls, and props which were "strewn about on bare concrete floors". The venue's windows were dirty and its air conditioning systems were left exposed. Paterson has stated that by the time she saw the venue, she had already signed her contract and "didn't want to disappoint the kids", and thus chose to proceed with the work. The Unknown was played by a 16-year-old actress named Felicia Dawkins, who wore a silver mask and a black cloak. Young children were frightened by the character, who appeared from behind a large rectangular mirror. Despite the script calling for The Unknown to be defeated with a vacuum cleaner, no such prop was provided, and actors were instead asked to improvise. Connell said that he and other employees were told to give each child "two jelly beans and a quarter of a cup of lemonade", although the limited supply of jelly beans quickly ran out. Paterson and another "Wonkidoodle" actress, Jenny Fogarty, said that after the first three 45-minute performances, the cast were told to abandon the script and instead let guests walk through the venue, a process that Paterson said took "about two minutes". The character of The Unknown, previously introduced as the main antagonist, was now "scaring children for no reason". One of the actors playing McDuff improvised the idea that children should pull a "silly face" at The Unknown to scare them away, but Dawkins said that, in other cases, she "just had to awkwardly walk back to my corner". Connell was told he would be given a 15-minute break every 45 minutes, but on the day of the event, he played Willy McDuff for three and a half hours without a break. After returning from a lunch break, Connell encountered a crowd of customers demanding refunds from Coull, and the other actors were unsure what to do next. After being told that the event was now cancelled halfway through its opening day, the actors left and went to a pub. Upon returning to the venue some time later, Connell said that he felt "the threat of violence had become quite high" and that there were two police vans and two squad cars at the scene. == Customer reviews and response == Willy's Chocolate Experience was widely criticised by those who attended it, many of whom demanded refunds. One customer, who had driven with his children for two hours to reach the event, described it as an "absolute con". Other visitors who arrived after the event was closed and were not informed of its cancellation requested compensation for wasted rail fares. Following the event's cancellation, Coull offered to refund 850 people, a statement repeated by the event's Facebook page. Some Facebook users stated that they had received their money back. Paterson and Fogarty stated that they only received half of their paycheque. Box Hub, the organisation that had rented the warehouse to House of Illuminati, issued an apology on House of Illuminati's behalf, stating that they "either have no regards for the families and young children they have disappointed or are too embarrassed to comment", and offered to provide a venue free of charge for those who attended the event. House of Illuminati later stated that they would not host any future events. Coull deleted his LinkedIn profile, his YouTube channel, and his personal website in response to the controversy. A few days after the event, Connell said he felt that Coull was "probably one of the most disliked people in Glasgow right now". In an interview with The Sunday Times, Coull apologised for how the event turned out, saying he would accept responsibility. == Fundraising == In an interview with Wired magazine, Connell stated that he and the other actors were working with parents to provide a free show for the children who attended. Some items from the event were later auctioned for charity. The venue auctioned the leftover hand-written "even

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