AI Coding On Mobile

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  • Oversampled binary image sensor

    Oversampled binary image sensor

    An oversampled binary image sensor is an image sensor with non-linear response capabilities reminiscent of traditional photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. The response function of the image sensor is non-linear and similar to a logarithmic function, which makes the sensor suitable for high dynamic range imaging. == Working principle == Before the advent of digital image sensors, photography, for the most part of its history, used film to record light information. At the heart of every photographic film are a large number of light-sensitive grains of silver-halide crystals. During exposure, each micron-sized grain has a binary fate: Either it is struck by some incident photons and becomes "exposed", or it is missed by the photon bombardment and remains "unexposed". In the subsequent film development process, exposed grains, due to their altered chemical properties, are converted to silver metal, contributing to opaque spots on the film; unexposed grains are washed away in a chemical bath, leaving behind the transparent regions on the film. Thus, in essence, photographic film is a binary imaging medium, using local densities of opaque silver grains to encode the original light intensity information. Thanks to the small size and large number of these grains, one hardly notices this quantized nature of film when viewing it at a distance, observing only a continuous gray tone. The oversampled binary image sensor is reminiscent of photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. At the start of the exposure period, all pixels are set to 0. A pixel is then set to 1 if the number of photons reaching it during the exposure is at least equal to a given threshold q. One way to build such binary sensors is to modify standard memory chip technology, where each memory bit cell is designed to be sensitive to visible light. With current CMOS technology, the level of integration of such systems can exceed 109~1010 (i.e., 1 giga to 10 giga) pixels per chip. In this case, the corresponding pixel sizes (around 50~nm ) are far below the diffraction limit of light, and thus the image sensor is oversampling the optical resolution of the light field. Intuitively, one can exploit this spatial redundancy to compensate for the information loss due to one-bit quantizations, as is classic in oversampling delta-sigma converters. Building a binary sensor that emulates the photographic film process was first envisioned by Fossum, who coined the name digital film sensor (now referred to as a quanta image sensor). The original motivation was mainly out of technical necessity. The miniaturization of camera systems calls for the continuous shrinking of pixel sizes. At a certain point, however, the limited full-well capacity (i.e., the maximum photon-electrons a pixel can hold) of small pixels becomes a bottleneck, yielding very low signal-to-noise ratios (SNRs) and poor dynamic ranges. In contrast, a binary sensor whose pixels need to detect only a few photon-electrons around a small threshold q has much less requirement for full-well capacities, allowing pixel sizes to shrink further. == Imaging model == === Lens === Consider a simplified camera model shown in Fig.1. The λ 0 ( x ) {\displaystyle \lambda _{0}(x)} is the incoming light intensity field. By assuming that light intensities remain constant within a short exposure period, the field can be modeled as only a function of the spatial variable x {\displaystyle x} . After passing through the optical system, the original light field λ 0 ( x ) {\displaystyle \lambda _{0}(x)} gets filtered by the lens, which acts like a linear system with a given impulse response. Due to imperfections (e.g., aberrations) in the lens, the impulse response, a.k.a. the point spread function (PSF) of the optical system, cannot be a Dirac delta, thus, imposing a limit on the resolution of the observable light field. However, a more fundamental physical limit is due to light diffraction. As a result, even if the lens is ideal, the PSF is still unavoidably a small blurry spot. In optics, such diffraction-limited spot is often called the Airy disk, whose radius R a {\displaystyle R_{a}} can be computed as R a = 1.22 w f , {\displaystyle R_{a}=1.22\,wf,} where w {\displaystyle w} is the wavelength of the light and f {\displaystyle f} is the F-number of the optical system. Due to the lowpass (smoothing) nature of the PSF, the resulting λ ( x ) {\displaystyle \lambda (x)} has a finite spatial-resolution, i.e., it has a finite number of degrees of freedom per unit space. === Sensor === Fig.2 illustrates the binary sensor model. The s m {\displaystyle s_{m}} denote the exposure values accumulated by the sensor pixels. Depending on the local values of s m {\displaystyle s_{m}} , each pixel (depicted as "buckets" in the figure) collects a different number of photons hitting on its surface. y m {\displaystyle y_{m}} is the number of photons impinging on the surface of the m {\displaystyle m} th pixel during an exposure period. The relation between s m {\displaystyle s_{m}} and the photon count y m {\displaystyle y_{m}} is stochastic. More specifically, y m {\displaystyle y_{m}} can be modeled as realizations of a Poisson random variable, whose intensity parameter is equal to s m {\displaystyle s_{m}} , As a photosensitive device, each pixel in the image sensor converts photons to electrical signals, whose amplitude is proportional to the number of photons impinging on that pixel. In a conventional sensor design, the analog electrical signals are then quantized by an A/D converter into 8 to 14 bits (usually the more bits the better). But in the binary sensor, the quantizer is 1 bit. In Fig.2, b m {\displaystyle b_{m}} is the quantized output of the m {\displaystyle m} th pixel. Since the photon counts y m {\displaystyle y_{m}} are drawn from random variables, so are the binary sensor output b m {\displaystyle b_{m}} . === Spatial and temporal oversampling === If it is allowed to have temporal oversampling, i.e., taking multiple consecutive and independent frames without changing the total exposure time τ {\displaystyle \tau } , the performance of the binary sensor is equivalent to the sensor with same number of spatial oversampling under certain condition. It means that people can make trade off between spatial oversampling and temporal oversampling. This is quite important, since technology usually gives limitation on the size of the pixels and the exposure time. == Advantages over traditional sensors == Due to the limited full-well capacity of conventional image pixel, the pixel will saturate when the light intensity is too strong. This is the reason that the dynamic range of the pixel is low. For the oversampled binary image sensor, the dynamic range is not defined for a single pixel, but a group of pixels, which makes the dynamic range high. == Reconstruction == One of the most important challenges with the use of an oversampled binary image sensor is the reconstruction of the light intensity λ ( x ) {\displaystyle \lambda (x)} from the binary measurement b m {\displaystyle b_{m}} . Maximum likelihood estimation can be used for solving this problem. Fig. 4 shows the results of reconstructing the light intensity from 4096 binary images taken by single photon avalanche diodes (SPADs) camera. A better reconstruction quality with fewer temporal measurements and faster, hardware friendly implementation, can be achieved by more sophisticated algorithms.

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  • Dominic Harris

    Dominic Harris

    Dominic Harris (born 16 November 1976) is a British artist known for integrating modern technology and classical design in his interactive artworks. == Background == Dominic Harris was born in London on 16 November 1976, and grew up in London, Brussels, and Michigan before returning to London in 1995. Harris attended the Cranbrook Kingswood Upper School, and then trained as an architect at the Bartlett School of Architecture, and has been ARB registered since 2011. Harris designs and fabricates his artworks at Dominic Harris Studio, a multi-disciplinary practice he founded in 2007. This studio consists of 25 people with diverse backgrounds including architecture, product design, electronics, programming, graphic design, and workshop skills. Harris uses the resources of his studio for the ongoing development, prototyping and production of his artworks. Harris also oversees the studio's international projects where his fascinations are translated into larger scale projects that span residential, retail, and public art projects. In 2015, Harris was granted permission by the Walt Disney Company to use their Intellectual Property for the purpose of making new interactive artworks. Harris is the only artist to gain permission to use Disney's back catalogue of characters, and led him to creating his interactive versions of "Snow White and the Seven Dwarfs" and "Mickey and Minnie: An Interactive Diptych". Harris is fascinated by the idea of using data streams, algorithms, and computer code to generate dynamic and ever-changing artworks. He sees data as a raw material that can be transformed into visual poetry. Many of his installations and sculptures are interactive, responding to the presence and movement of viewers/participants. This creates an immersive experience where the observer becomes part of the artwork itself. Harris is also the founding partner of a sister studio in London called Cinimod Studio that creates large commissioned installations, interactive events and lighting designs for large brands. == Works == == Exhibitions == The works of Dominic Harris have been exhibited internationally, both through direct and gallery representation. Solo shows: "Feeding Consciousness" at Halcyon Gallery, Mayfair, London, UK – 2023 "US: NOW" at Halcyon Gallery, Mayfair, London, UK – 2020 "Imagine" at Halcyon Gallery, Mayfair, London, UK – 2019 "5 Year Celebration", Priveekollektie Contemporary Art | Design, London, UK – 2016. "Moments of Reflection" at PHOS ART + DESIGN, Mayfair, London, UK – 2015 Recent exhibitions include: In Plain Sight, 2024 Halcyon Gallery Victoria & Albert Museum Dublin Science Museum Design Miami / Basel Design Miami Art Miami Art 14, London PAD Paris PAD London Art Geneva == Gallery Representation == 2010 to 2019: Dominic Harris was represented by Priveekollektie Contemporary Art | Design, a Dutch gallery based in Heusden, the Netherlands, and with a regular presence on the international art and design circuits. 2015: Dominic Harris was shown with PHOS ART + DESIGN Gallery, in Mayfair, London, UK. 2019 – ongoing: Dominic Harris is exclusively represented by the Halcyon Gallery, an established international gallery based in Mayfair, London. == Collections == The majority of Harris's work has been bought by private collectors. Since 2012 Harris's work is also being acquired by several large institutional collections, including the Borusan Contemporary Art Collection in Istanbul. Harris's artworks include some of the biggest and most respected international art collectors and are also displayed in public spaces. == Books == Dominic Harris: Feeding Consciousness. Halcyon Gallery, 2023. Imagine: Dominic Harris (exhibition catalogue). Halcyon Gallery, 2019. A Touch Of Code: Documents the "Beacon" art installation and "Flutter" artwork (ISBN 978-3899553314) Dominic Harris, Artworks, Edition Eight. (ISBN 978-0957306325) Digital Real: Kunst & Nachhaltigkeit Vol 8.

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  • Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise (Japanese: ガンダムビルドダイバーズRe:RISE, Hepburn: Gandamu Birudo Daibāzu Re:Raizu) is a Japanese original net animation anime series produced by Sunrise Beyond, and the fourth series within the Gundam Build Series sub-series. A sequel to the 2018 anime Gundam Build Divers, it is the first Gundam anime series to be released in the Reiwa period, released to celebrate the franchise's 40th anniversary. The series is directed by Shinya Watada and written by Yasuyuki Muto. Initially announced at the Gundam 40th anniversary video, the series aired on its Gundam Channel YouTube channel from October 10 to December 26, 2019. A TV airing of the ONA began on BS11 on October 12, 2019, and on January 28, 2020, on Tokyo MX. A second season aired from April 9 to August 27, 2020. Two spinoffs of the series were later serialized in Kadokawa's Gundam Ace magazine and Hobby Japan. == Plot == Two years have passed since the EL-Diver Incident, an event that almost destroyed the Gunpla Battle Nexus Online (GBN) game until it was resolved by the force group known as "Build Divers", and soon after more EL-Divers were discovered. In order to make the game more secure, a newer version of the game was rolled out in order to prevent the same incident from happening again and with newer experiences that would make the gameplay more immersive to players. The story focuses on Hiroto Kuga, a high schooler who is a rogue mercenary Gunpla Diver in GBN, who goes in the game and wanders throughout its countless dimensions while helping out other Divers whether it is on insistence or by hire. Despite his selfless act, he chooses to remain unaffiliated with anyone and refuses rewards and Force (Diver parties) group invites, isolating himself from other people even in real life. His primary goal as a Diver is to be reunited with a mysterious girl from his past named Eve, who was in fact the very first EL-Diver to appear in the game. But after a special request mission, Hiroto is united with three other active Divers in a strange world named "Eldora" and forms the Force group "BUILD DiVERS" in what appears to be just another GBN gamespace event, until they learn the truth about Eldora and its consequences not only for GBN, but for the entire world. == Characters == === BUILD DiVERS === Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi (Japanese); Billy Kametz (English) The main protagonist of the series and a high-school builder, veteran diver, and a former ace member of the Force group Avalon, who lives in Yokohama. He was one of the first minors to make it to the deep end of GBN, due to his conviction of being a person who does his best to help others. He was active prior and during the events of the previous series. Now working as a rogue diver for hire after leaving Avalon, he wanders the GBN gamespace alone, harboring regrets, resentments, and suffering from trauma after the death of his close friend and lover, the EL-Diver Eve. He is very calm and a man of few words, usually refusing others' reward and help, especially on joining other forces, but this stoic persona is a mental mask to hide his condition from everyone, including his parents. But when a special mission done by Freddie united him with Kazami, May and Parviz, they accidentally formed the force team named "BUILD DiVERS" to protect the Eldorans from the One-Eyes army. Currently he is the ace of his unit and the leader of the overall force. Hiroto uses the PFF-X7 Core Gundam as his main Gunpla, based on the RX-78-2 Gundam from the original Mobile Suit Gundam series. Its special armament system called the "core-change" gimmick and his first theme invented from that gimmick is the "Planets System". This allows the Core Gundam to be equipped with various types of armor and weapons, each for a different situation named after the eight planets. Hiroto later upgrades his Gunpla into the PFF-X7II Core Gundam II. This new Core Gundam can transform into the "Core Flyer", in a similar fashion to the original Gundam's FF-X7 Core Fighter for increased mobility and like its predecessor, it can also use the Planets System: Earth Armor (PFF-X7/E3 Earthree Gundam): Core Gundam's default blue armor, focused on traditional all-around combat. Mars Armor (PFF-X7/M4 Marsfour Gundam): A red armor whose focus is on fragments of four styles of close combat, hence "Cross-Combat". Venus Armor (PFF-X7/V2 Veetwo Gundam): A green armor whose focus is commando style ranged and bombardment combat, additionally with option works. Mercury Armor (PFF-X7/M1 Mercuone Gundam): A navy armor whose focus is underwater combat. Jupiter Armor (PFF-X7/J5 Jupitive Gundam): A white armor whose focus is fast orbital combat. Uranus Armor (PFF-X7II/U7 Uraven Gundam): An indigo armor focused on reconnaissance and high powered sniping. Saturn Armor (PFF-X7II/S6 Saturnix Gundam): An orange armor focused in demolition style close combat without beam weapons, originally developed to counter Gundam Frames. Neptune Armor (PFF-X7II/N8 Nepteight Gundam): An aqua-green armor equipped with a customized Volture Lumiere system similar to the one from Mobile Suit Gundam SEED C.E. 73: Stargazer, intended to be used for traveling through GBN's space in a short amount of time, but was used for launching into orbit instead of maneuvering in deep space. It is ultimately discarded in Eldora's orbit due to the strain of leaving Eldora's gravitational field. Pluto Armor (PFF-X7II+/P9 Plutine Gundam): Appearing only on Gundam Build Metaverse, the black colored armor is used for close combat and dueling purposes with its color scheme reminiscent of that of EcoPla. PFF-X7II/BUILD DiVERS Re:Rising Gundam: A special combination of the Core Gundam II with the WoDom Pod + and parts from the Gundam Aegis Knight and the EX Valkylander, armed with two giant beam sabers, eight miracle wings born from Eve's blessings, and the "Grand Cross Cannon", Hiroto's first special move, made with the help of his team. In one occasion, Hiroto changes his avatar to a Haro to pilot the Mobile Builder Haro Loader to help with the repairs on Cuadorn by making a prosthetic wing out of gunpla parts. During the Gunpla Battle Royal, he pilots an unmodified ASW-G-08 Gundam Barbatos Lupus Rex from Mobile Suit Gundam: Iron-Blooded Orphans. In Battlelogue, it is revealed that he has made a second Core Gundam II that he leaves on Eldora with the colors of the Gundam MK-II Titan. Another variant of this Gunpla sports the old "Gundam G3" colors with his team's personal crest, which is most likely to represent Sarah since the color of her hair, eyes, and dress embody Hiroto's time with Eve before they joined Avalon and to symbolize how he has officially befriended the original Build Divers. Each of the two units have unique advancements, the Titan color specializes in ground and underwater combat and the G3 color specializes in aerial and space combat. May (メイ, Mei) Voiced by: Mai Fuchigami (Japanese); Lauren Landa (English) A seemingly late teens female diver who prefers to play solo, she is a very calm and no-nonsense girl whose interest is in battles alone. However, she is not a fan of those who engage their opponents head on and prefers to implement a strategic approach. She is mature and has a strong sense of justice, and can be impulsive rushing into situations, especially for those in danger. Later in the series, she is revealed to be one of the 87 EL-Divers, however she was not one of those who were saved after the EL-Diver incident two years ago, she was born shortly after. After she was born she was given her own Mobile Doll body similar to Sarah, that is when she first met her, Koichi, Tsukasa, and Nanami. During the Lotus Challenge Eldoran style rehearsal battle it is revealed that she, as a new sister of Sarah, addresses the latter as the older since Sarah is chronologically older, regardless of her maturity. In the final episode, she is revealed to have been born with the remnant data originating from Eve, the first born EL-Diver who Hiroto befriended and fell in love with several years ago, and carries Eve's earring on her armband. In Battlelogue, it's implied that she is currently living with Hiroto IRL and in GBN is his attendant. May uses the JMA0530-MAY WoDom Pod as her main Gunpla, which is a customized JMA-0530 Walking Dome from Turn A Gundam. In the later episodes, the mobile suit is revealed to be a disguise for its true form, the HER-SELF Mobile Doll May. May later upgrades her WoDom Pod into the JMA0530-MAYBD WoDom Pod +. During the Gunpla Battle Royal, she uses her Mobile Doll (albeit with a new color scheme and the Gundam Base logo) along with an unmodified NZ-999 II Neo Zeong mobile armor from Mobile Suit Gundam Narrative. Kazami Torimachi (トリマチ・カザミ, Torimachi Kazami) / Kazami (カザミ, Kazami) Voiced by: Masaaki Mizunaka (Japanese); Ray Chase (English) A diver who was a former member of the diver group "Mu Dish". He is a very energet

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  • Fuzzy markup language

    Fuzzy markup language

    Fuzzy Markup Language (FML) is a specific purpose markup language based on XML, used for describing the structure and behavior of a fuzzy system independently of the hardware architecture devoted to host and run it. == Overview == FML was designed and developed by Giovanni Acampora during his Ph.D. course in Computer Science, at University of Salerno, Italy, in 2004. The original idea inspired Giovanni Acampora to create FML was the necessity of creating a cooperative fuzzy-based framework aimed at automatically controlling a living environment characterized by a plethora of heterogeneous devices whose interactions were devoted to maximize the human comfort under energy saving constraints. This framework represented one of the first concrete examples of Ambient Intelligence. Beyond this pioneering application, the major advantage of using XML to describe a fuzzy system is hardware/software interoperability. Indeed, all that is needed to read an FML file is the appropriate schema for that file, and an FML parser. This markup approach makes it much easier to exchange fuzzy systems between software: for example, a machine learning application could extract fuzzy rules which could then be read directly into a fuzzy inference engine or uploaded into a fuzzy controller. Also, with technologies like XSLT, it is possible to compile the FML into the programming language of your choice, ready for embedding into whatever application you please. As stated by Mike Watts on his popular Computational Intelligence blog: "Although Acampora's motivation for developing FML seems to be to develop embedded fuzzy controllers for ambient intelligence applications, FML could be a real boon for developers of fuzzy rule extraction algorithms: from my own experience during my PhD, I know that having to design a file format and implement the appropriate parsers for rule extraction and fuzzy inference engines can be a real pain, taking as much time as implementing the rule extraction algorithm itself. I would much rather have used something like FML for my work." A complete overview of FML and related applications can be found in the book titled On the power of Fuzzy Markup Language edited by Giovanni Acampora, Chang-Shing Lee, Vincenzo Loia and Mei-Hui Wang, and published by Springer in the series Studies on Fuzziness and Soft Computing. == Syntax, grammar and hardware synthesis == FML allows fuzzy systems to be coded through a collection of correlated semantic tags capable of modeling the different components of a classical fuzzy controller such as knowledge base, rule base, fuzzy variables and fuzzy rules. Therefore, the FML tags used to build a fuzzy controller represent the set of lexemes used to create fuzzy expressions. In order to design a well-formed XML-based language, an FML context-free grammar is defined by means of a XML schema which defines name, type and attributes characterized each XML element. However, since an FML program represents only a static view of a fuzzy logic controller, XSLT is provided to change this static view to a computable version. Indeed, XSLTs modules are able to convert the FML-based fuzzy controller in a general purpose computer language using an XSL file containing the translation description. At this level, the control is executable for the hardware. In short, FML is essentially composed by three layers: XML in order to create a new markup language for fuzzy logic control; a XML Schema in order to define the legal building blocks; eXtensible Stylesheet Language Transformations (XSLT) in order to convert a fuzzy controller description into a specific programming language. === Syntax === FML syntax is composed of XML tags and attributes which describe the different components of a fuzzy logic controller listed below: fuzzy knowledge base; fuzzy rule base; inference engine fuzzification subsystem; defuzzification subsystem. In detail, the opening tag of each FML program is which represents the fuzzy controller under modeling. This tag has two attributes: name and ip. The first attribute permits to specify the name of fuzzy controller and ip is used to define the location of controller in a computer network. The fuzzy knowledge base is defined by means of the tag which maintains the set of fuzzy concepts used to model the fuzzy rule base. In order to define the fuzzy concept related controlled system, tag uses a set of nested tags: defines the fuzzy concept; defines a linguistic term describing the fuzzy concept; a set of tags defining a shape of fuzzy sets are related to fuzzy terms. The attributes of tag are: name, scale, domainLeft, domainRight, type and, for only an output, accumulation, defuzzifier and defaultValue. The name attribute defines the name of fuzzy concept, for instance, temperature; scale is used to define the scale used to measure the fuzzy concept, for instance, Celsius degree; domainLeft and domainRight are used to model the universe of discourse of fuzzy concept, that is, the set of real values related to fuzzy concept, for instance [0°,40°] in the case of Celsius degree; the position of fuzzy concept into rule (consequent part or antecedent part) is defined by type attribute (input/output); accumulation attribute defines the method of accumulation that is a method that permits the combination of results of a variable of each rule in a final result; defuzzifier attribute defines the method used to execute the conversion from a fuzzy set, obtained after aggregation process, into a numerical value to give it in output to system; defaultValue attribute defines a real value used only when no rule has fired for the variable at issue. As for tag , it uses two attributes: name used to identify the linguistic value associate with fuzzy concept and complement, a boolean attribute that defines, if it is true, it is necessary to consider the complement of membership function defined by given parameters. Fuzzy shape tags, used to complete the definition of fuzzy concept, are: Every shaping tag uses a set of attributes which defines the real outline of corresponding fuzzy set. The number of these attributes depends on the chosen fuzzy set shape. In order to make an example, consider the Tipper Inference System described in Mathworks Matlab Fuzzy Logic Toolbox Tutorial. This Mamdani system is used to regulate the tipping in, for example, a restaurant. It has got two variables in input (food and service) and one in output (tip). FML code for modeling part of knowledge base of this fuzzy system containing variables food and tip is shown below. A special tag that can furthermore be used to define a fuzzy shape is . This tag is used to customize fuzzy shape (custom shape). The custom shape modeling is performed via a set of tags that lists the extreme points of geometric area defining the custom fuzzy shape. Obviously, the attributes used in tag are x and y coordinates. As for rule base component, FML allows to define a set of rule bases, each one of them describes a different behavior of system. The root of each rule base is modeled by tag which defines a fuzzy rule set. The tag uses five attributes: name, type, activationMethod, andMethod and orMethod. Obviously, the name attribute uniquely identifies the rule base. The type attribute permits to specify the kind of fuzzy controller (Mamdani or TSK) respect to the rule base at issue. The activationMethod attribute defines the method used to implication process; the andMethod and orMethod attribute define, respectively, the and and or algorithm to use by default. In order to define the single rule the tag is used. The attributes used by the tag are: name, connector, operator and weight. The name attribute permits to identify the rule; connector is used to define the logical operator used to connect the different clauses in antecedent part (and/or); operator defines the algorithm to use for chosen connector; weight defines the importance of rule during inference engine step. The definition of antecedent and consequent rule part is obtained by using and tags. tag is used to model the fuzzy clauses in antecedent and consequent part. This tag use the attribute modifier to describe a modification to term used in the clause. The possible values for this attribute are: above, below, extremely, intensify, more or less, norm, not, plus, slightly, somewhat, very, none. To complete the definition of fuzzy clause the nested and tags have to be used. A sequence of tags realizes a fuzzy rule base. As example, consider a Mamdani rule composed by (food is rancid) OR (servi

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  • WriterDuet

    WriterDuet

    WriterDuet is a screenwriting software for writing and editing screenplays and other forms of mass media. == History == WriterDuet was founded in 2013 by Guy Goldstein. In April 2015, WriterDuet acquired the domain for Scripped.com after they closed, citing a serious technical failure. In August 2016, WriterDuet released a localized version of its software in China. In May 2018, WriterDuet included Bechdel test analysis functions to address issues of gender diversity in the screenwriting industry. In 2018, WriterDuet published WriterSolo, an offline version of their app that runs on the browser and opens/saves files on the computer, Dropbox, Google Drive, and iCloud. In July 2019, WriterDuet made the WriterSolo browser app and desktop app available as pay-what-you-want under the web address FreeScreenwriting.com. == Features == WriterDuet is primarily used to outline, write, and format screenplays to the standards recommended by the AMPAS. It also supports formats for theater, novels, and video games. The software is powered by Firebase allowing users to write together in real-time from multiple devices. WriterDuet's main competitors in the screenwriting industry are Final Draft, Celtx, and Movie Magic Screenwriter.

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  • Pop music automation

    Pop music automation

    Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles

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  • Tales from the Loop (role-playing game)

    Tales from the Loop (role-playing game)

    Tales from the Loop (Swedish: Ur Varselklotet), subtitled "Roleplaying in the '80s That Never Was", is an alternative history science fiction tabletop role-playing game published in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. The game, based on the art of Simon Stålenhag, envisions an alternative world where a group of bored and ignored preteens and teens solve mysteries caused by new technology near their hometown. == Description == === Setting === Tales from the Loop is set in an alternative history world taken from the artwork of Simon Stålenhag. According to this alternative timeline, back in the 1940s, research began on particle accelerators. In the 1960s, two massive underground particle accelerators were built in Sweden and Colorado with the promise of a harvest of technological marvels that would change everyone's lives. Tales from the Loop is set twenty years later, in the late 1980s, and the better life has not materialized. Although the particle accelerators have created robots and large skyships, the detritus of failed experiments and the ruins of abandoned high tech company buildings litter the landscape. Generally the life of the average family has not changed for the better. A campaign can either be set in the Mälaren Islands, west of the Swedish capital of Stockholm, or in a city in the Southwest United States that resembles Boulder City, Nevada. There is also a step-by-step guide for the gamemaster to use their own hometown. === Character generation === Player characters are preteens and young teenagers age 10–15 who live in a society where they are bored and largely left to themselves. Players can choose archetypes for their characters including Bookworm, Jock, Troublemaker, Popular Kid and Weirdo. Unlike most role-playing games, characters in Tales from the Loop cannot be killed, although in an ongoing campaign or due to an in-game effect, they are removed from the game if they reach the age of sixteen. === Game system === The game uses the Year Zero Engine first developed by Tomas Härenstam for the post-apocalyptic role-playing game Mutant: Year Zero. (Härenstam served as the editor and project manager for Tales from the Loop.) Problems are resolved by rolling a pool of six-sided dice, with any 6 rolled marking success. Attributes and skills (Sneak, Force, Move, Build, Tinker, Calculate, Contact, Charm, Lead, Investigate, Comprehend, and Empathize) may allow the player to add more dice to the dice pool, increasing the chances of success. However, if a character has earned a condition such as Scared or Injured, dice are removed from the dice pool. === Gameplay === The game principles are that life for the characters is dull and boring, but the area around the town is full of wonderful, mysterious things. An adventure is set up as a Mystery, and in order to successfully resolve the Mystery, characters must overcome a series of Troubles, which can range from having to be home by a certain time to dealing with a bully to disarming or otherwise overcoming a booby-trap on a door that must be opened. Each Mystery is played as a series of scenes, much like a TV drama. Although the gamemaster leads the players into the Mystery, each scene is set collaboratively with the players before action continues. As critic Jukka Kauppinen noted, "The players and the gamemaster take turns verbally staging a new scene — where we are, what it's like there — and only then what we do." === Campaign === The book presents a chronologically-linked set of four Mysteries called "The Four Seasons of Mad Science" that take place over a calendar year: "Summer Break and Killer Birds": The Kids hears pigeons having a conversation and investigate "Grown-Up Attraction": Adults start disappearing without any sign of struggle. "Creatures from the Cretaceous": The search for a missing dog leads to the discovery of creatures that don't belong in our time "I, Wagner": The Kids discover a body in a stream, and are drawn into a Mystery with robots and humans that may affect them closely. == Publication history == In 2017, Swedish artist Simon Stålenhag was raising money on Kickstarter to publish a book of his art titled Tales from the Loop. One of the stretch goals offered was the creation of a role-playing game. A second Kickstarter campaign to publish the role-playing game was initiated by Fria Ligan AB, who surpassed their crowdfunding goal and raised a total of 3,745,896 kr from 5,600 backers. The role-playing game Tales from the Loop was subsequently published as a 184-page hardcover book in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. Cover art and interior art were by Stålenhag, and cartography was by Christian Granath. A stand-alone expansion, Things from the Flood (Swedish: Flodskörden), based on Stålenhag's art book of the same name, was created by Nils Hintze, Rickard Antroia, and Tomas Härenstam. The 216-page hardcover book was published in 2019 with cover art by Stålenhag, interior art by Stålenhag and Reine Rosenberg, and cartography by Christian Granath. In 2020, the setting of the role-playing game was transferred to the TV series Tales from the Loop developed by Nathanial Halpern and Simon Stålenhag. The series tells eight stories of children's encounters with strange technology. == Reception == Shut Up & Sit Down praised Tales from the Loop for its comfortable, contemporary setting, simple rules that make the game easy to run, and the alternation between sci-fi and the kids' lives, but criticized the Type system for characters, noting "a suggested 'Pride' for the Weirdo involved being homosexual –– the only mention of queerness in the entire game. Those of us who identify as GLBTQ bristled at that: why was only the Weirdo queer, with queerness as a (possibly secret) Pride? Why not more fully address being a GLBTQ kid in the 1980s?" The review concluded, "For new RPG players, Tales is a decent game that you'll enjoy and that will make your heart burst. But you need an experienced GM who’s able to either alter the book’s mysteries or create their own, and who can put in work when poor dice rolls hold the players back." Rob Weiland of Geek & Sundry named Tales from the Loop 2017's best RPG release and praised Stålenhag's art, the collaborative nature between the GM and players, and the simplicity of running the game. Weiland concluded, "It has a simple system that is easy to explain but holds up under several plays. It has a setting that’s immediately evocative but also leaves plenty of room for GMs to build out their own world. It offers players a chance to experience the rush of memory, the pain of childhood and the wonder of movies." In a review of Tales from the Loop in Black Gate, Andrew Zimmerman Jones said, "Though not based directly on an established franchise, it draws richly from elements of popular culture that will make it resonate with many players. The focus on narrative play also means it’s a good game for people who aren’t necessarily big into learning a ton of new rules." Jukka Kauppinen, writing for the Finnish games magazine Skrolli, called the game, "downright delicious in its diversity. The science fiction world created by the Swedish artist Simon Stälenhag is, after all, both delightful vintage and tickling novelty." Kauppinen concluded, "This mutual storytelling and interaction makes this game more of a campfire circle than a traditional role-playing game. At the same time, its setting in the real world, tinged with science fiction and even horror, creates a delicious and unique adventure environment." In his 2023 book Monsters, Aliens, and Holes in the Ground, RPG historian Stu Horvath noted that the game system "pushes the players to constantly reevaluate their characters' relationships with the everyday world, for better or worse. It won't be long before navigating entanglements with parents, teachers, siblings and bullies proves just as risky to the characters, and central to the players' experience, as trying to find out what happened with the time portal or dealing with a rampaging robot." Horvath concluded, "The appeal of Tales from the Loop is Stålenhag's deep shadows and purple dusks. They hide the dangers and mysteries that often act [as] an escape hatch, a way to avoid prosaic problems." == Awards == At the 2017 Golden Geek Awards, Tales of the Loop won "RPG of the Year", and was a finalist for " Best RPG Artwork/Presentation" At the 2017 ENnie Awards, Tales from the Loops won five Gold Medals: Product of the Year Best Writing Best Setting Best Game Best Art, Interior

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  • Land of Memories

    Land of Memories

    Land of Memories (Chinese: 机忆之地) is a Chinese science-fiction novel by Shen Yang (沈阳), a professor at Tsinghua University's School of Journalism and Communication. The story revolves around a former neuroscientist trying to recover her memories from the metaverse after suffering amnesia due to an accident. It contains almost 6,000 Chinese characters and was shortened from an AI-generated draft that was 43,000 characters long. The process involved 66 prompts spanning almost three hours. The novel was among 18 submissions that won the level-two prize at the Fifth Jiangsu Youth Science Education and Science Fiction Competition (第五届江苏省青年科普科幻作品大赛). The contest was restricted to participants between the age of 14 and 45 but did not forbid entries generated by AI. One of its organizers reached out to Shen after finding out that the professor had been experimenting with writing science fiction using AI. The judges were not told about the novel's origin in advance. Three of them, out of the six, approved the work. One judge, who had worked with AI models before, recognized that the novel was written by AI and criticized the work for lacking emotional appeal. The organizer who had contacted Shen said the novel's introduction was not bad but the story did not develop well. It would not meet the usual standards for publication. However, he still plans to allow AI-generated submissions in 2024. Fu Ruchu, editorial department director of the People's Literature Publishing House, said the novel was not easily identifiable as AI-generated and applauded its logical consistency. She warned that artificial intelligence could endanger the jobs of fiction writers and cause permanent damage to literary language.

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  • DexNet

    DexNet

    Dex-net is a robotic. It uses a Grasp Quality Convolutional Neural Network to learn how to grasp unusually shaped objects. == History == Dex-net was developed by University of California, Berkeley professor Ken Goldberg and graduate student Jeff Mahler. == Design == Dex-net includes a high-resolution 3-D sensor and two arms, each controlled by a different neural network. One arm is equipped with a conventional robot gripper and another with a suction system. The robot’s software scans an object and then asks both neural networks to decide, on the fly, whether to grab or suck a particular object. It runs on an off-the-shelf industrial machine made by Swiss robotics company ABB. The software learns by attempting to pick up objects in a virtual environment. Dex-Net can generalize from an object it has seen before to a new one. The robot can "nudge" such virtual objects to examine if it is unsure how to grasp them. The trial data set was 6.7 million point clouds, grasps and analytic grasp metrics generated from thousands of 3D models. Grasps are defined as a gripper's planar position, angle and depth relative to an RGB-D sensor. == Mean picks per hour == A metric called mean picks per hour (MPPH) is calculated by multiplying the average time per pick and the average probability of success for a specific set of objects. The new metric allows labs working on picking robots to compare their results. Humans are capable of between 400 and 600 MPPH. In a contest organized by Amazon recently, the best robots were capable of between 70 and 95. Dex-net has achieved 200 to 300.

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  • Death of Elaine Herzberg

    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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  • Mobile Fortify

    Mobile Fortify

    Mobile Fortify is a mobile app used by United States Immigration and Customs Enforcement (ICE) on their government-issued phones. The app allows agents to take a photo in order to gather biometrics, including contactless fingerprints and faceprints, for the purpose of identifying an individual and their potential immigration status. The app was created by NEC. == History == In June 2025, use of Mobile Fortify by ICE was uncovered through leaked emails and the user manual, reported by 404 Media. The app is internally developed, and details of the parent company and developer were initially unknown. In January 2026, the DHS's 2025 AI Use Case Inventory revealed the vendor as NEC Corporation, an international conglomerate with subsidiaries in Argentina, Australia, China, India and Malaysia. Later that month, several senators demanded transparency around the app and its origins, and that ICE stop using it. A second letter was sent again in November, after hearing no response to the previous letter from ICE. == Technology == Unlike other facial recognition software, Fortify uses federally linked databases. By contrast, Clearview AI uses public social media databases for biometric scanning. Federal databases include DHS's automated biometric identification system (IDENT), containing more than 270 million biometric records, and Customs and Border Protection's Traveler Verification Service. The State Department's visa and passport photo database, the FBI's National Crime Information Center, National Law Enforcement Telecommunications Systems, and CBP's TECS and Seized Assets and Case Tracing System (SEACATS). == Oversight == Several senators urged ICE to stop using the app for fear of infringing on fourth amendment and first amendment rights, and requested details on who developed the app, when it was deployed, whether the app was tested for accuracy, and policies and practices governing its use. In June 2025, they sent an open letter to Todd Lyons, ICE acting director, signed by senators Cory Booker, Chris Van Hollen, Ed Markey, Bernie Sanders, Adam Schiff, Tina Smith, Elizabeth Warren, and Ron Wyden. On November 3, a second letter was sent to the ICE by senators, after not receiving answers to questions from the previous letter deadlined for October 2. == Criticism == Mobile Fortify, and ICE's use of similar biometric identification technologies (such as Mobile Identify, an app similar to Mobile Fortify to be used by local or regional law enforcement to assist in immigration enforcement ) has faced scrutiny from a variety of digital rights organizations, politicians, and news outlets. The criticism is already considered to potentially be a reason why the similar Mobile Identify app was pulled from the Google Play Store. Facial recognition technologies are known to produce false-positives and generally unreliable results, especially on those with darker skin tones. ICE has already previously mistakenly arrested a U.S. citizen under the belief he was illegally in the country, and later stated that he "could be deported based on biometric confirmation of his identity" prior to his release. U.S. representative Bennie Thompson, ranking member of the House Homeland Security Committee has previously commented that "ICE officials have told us that an apparent biometric match by Mobile Fortify is a ‘definitive’ determination of a person's status and that an ICE officer may ignore evidence of American citizenship—including a birth certificate—if the app says the person is an alien," and that "Mobile Fortify is a dangerous tool in the hands of ICE, and it puts American citizens at risk of detention and even deportation," On January 19, 2026, 404 Media reported on a case where a woman, identified in court documents as "MJMA", was scanned by Mobile Fortify twice in the same interaction, and two entirely different names were provided by the app. According to the Innovation Law Lab, whose attorneys are representing MJMA, both of the names were incorrect. ICE has stated that they will not allow people to decline to be scanned by Mobile Fortify, and that photos taken, even those of U.S. citizens, will be stored for 15 years, something that has been criticized primarily because ICE has not performed a Privacy Impact Assessment (PIA) for Mobile Fortify, the right to decline other forms of biometric verification to the U.S. government is often available under other circumstances, and the 15 year window is viewed as unnecessarily large.

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  • IJCAI Computers and Thought Award

    IJCAI Computers and Thought Award

    The IJCAI Computers and Thought Award is presented every two years by the International Joint Conference on Artificial Intelligence (IJCAI), recognizing outstanding young scientists in artificial intelligence. It was originally funded with royalties received from the book Computers and Thought (edited by Edward Feigenbaum and Julian Feldman), and is currently funded by IJCAI. It is considered to be "the premier award for artificial intelligence researchers under the age of 35". == Laureates == Terry Winograd (1971) Patrick Winston (1973) Chuck Rieger (1975) Douglas Lenat (1977) David Marr (1979) Gerald Sussman (1981) Tom Mitchell (1983) Hector Levesque (1985) Johan de Kleer (1987) Henry Kautz (1989) Rodney Brooks (1991) Martha E. Pollack (1991) Hiroaki Kitano (1993) Sarit Kraus (1995) Stuart Russell (1995) Leslie Kaelbling (1997) Nicholas Jennings (1999) Daphne Koller (2001) Tuomas Sandholm (2003) Peter Stone (2007) Carlos Guestrin (2009) Andrew Ng (2009) Vincent Conitzer (2011) Malte Helmert (2011) Kristen Grauman (2013) Ariel D. Procaccia (2015) Percy Liang (2016) for his contributions to both the approach of semantic parsing for natural language understanding and better methods for learning latent-variable models, sometimes with weak supervision, in machine learning. Devi Parikh (2017) Stefano Ermon (2018) Guy Van den Broeck (2019) for his contributions to statistical and relational artificial intelligence, and the study of tractability in learning and reasoning. Piotr Skowron (2020) for his contributions to computational social choice, and to the theory of committee elections. Fei Fang (2021) for her contributions to integrating machine learning with game theory and the use of these novel techniques to tackle societal challenges such as more effective deployment of security resources, enhancing environmental sustainability, and reducing food insecurity. Bo Li (2022) for her contributions to uncovering the underlying connections among robustness, privacy, and generalization in AI, showing how different models are vulnerable to malicious attacks, and how to eliminate these vulnerabilities using mathematical tools that provide robustness guarantees for learning models and privacy protection. Pin-Yu Chen (2023) for his contributions to consolidating properties of trust, robustness and safety into rigorous algorithmic procedures and computable metrics for improving AI systems. Nisarg Shah (2024) for his contributions to AI and society, in particular foundational work on the theory of algorithmic fairness using principles from social choice theory. Aditya Grover (2025) for his foundational contributions uniting deep generative models, representation learning, and reinforcement learning, and for their applications in advancing scientific reasoning.

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  • Developmental robotics

    Developmental robotics

    Developmental robotics (DevRob), sometimes called epigenetic robotics, is a scientific field which aims at studying the developmental mechanisms, architectures and constraints that allow lifelong and open-ended learning of new skills and new knowledge in embodied machines. As in human children, learning is expected to be cumulative and of progressively increasing complexity, and to result from self-exploration of the world in combination with social interaction. The typical methodological approach consists in starting from theories of human and animal development elaborated in fields such as developmental psychology, neuroscience, developmental and evolutionary biology, and linguistics, then to formalize and implement them in robots, sometimes exploring extensions or variants of them. The experimentation of those models in robots allows researchers to confront them with reality, and as a consequence, developmental robotics also provides feedback and novel hypotheses on theories of human and animal development. Developmental robotics is related to but differs from evolutionary robotics (ER). ER uses populations of robots that evolve over time, whereas DevRob is interested in how the organization of a single robot's control system develops through experience, over time. DevRob is also related to work done in the domains of robotics and artificial life. == Background == Can a robot learn like a child? Can it learn a variety of new skills and new knowledge unspecified at design time and in a partially unknown and changing environment? How can it discover its body and its relationships with the physical and social environment? How can its cognitive capacities continuously develop without the intervention of an engineer once it is "out of the factory"? What can it learn through natural social interactions with humans? These are the questions at the center of developmental robotics. Alan Turing, as well as a number of other pioneers of cybernetics, already formulated those questions and the general approach in 1950, but it is only since the end of the 20th century that they began to be investigated systematically. Because the concept of adaptive intelligent machines is central to developmental robotics, it has relationships with fields such as artificial intelligence, machine learning, cognitive robotics or computational neuroscience. Yet, while it may reuse some of the techniques elaborated in these fields, it differs from them from many perspectives. It differs from classical artificial intelligence because it does not assume the capability of advanced symbolic reasoning and focuses on embodied and situated sensorimotor and social skills rather than on abstract symbolic problems. It differs from cognitive robotics because it focuses on the processes that allow the formation of cognitive capabilities rather than these capabilities themselves. It differs from computational neuroscience because it focuses on functional modeling of integrated architectures of development and learning. More generally, developmental robotics is uniquely characterized by the following three features: It targets task-independent architectures and learning mechanisms, i.e. the machine/robot has to be able to learn new tasks that are unknown by the engineer; It emphasizes open-ended development and lifelong learning, i.e. the capacity of an organism to acquire continuously novel skills. This should not be understood as a capacity for learning "anything" or even “everything”, but just that the set of skills that is acquired can be infinitely extended at least in some (not all) directions; The complexity of acquired knowledge and skills shall increase (and the increase be controlled) progressively. Developmental robotics emerged at the crossroads of several research communities including embodied artificial intelligence, enactive and dynamical systems cognitive science, connectionism. Starting from the essential idea that learning and development happen as the self-organized result of the dynamical interactions among brains, bodies and their physical and social environment, and trying to understand how this self-organization can be harnessed to provide task-independent lifelong learning of skills of increasing complexity, developmental robotics strongly interacts with fields such as developmental psychology, developmental and cognitive neuroscience, developmental biology (embryology), evolutionary biology, and cognitive linguistics. As many of the theories coming from these sciences are verbal and/or descriptive, this implies a crucial formalization and computational modeling activity in developmental robotics. These computational models are then not only used as ways to explore how to build more versatile and adaptive machines but also as a way to evaluate their coherence and possibly explore alternative explanations for understanding biological development. == Research directions == === Skill domains === Due to the general approach and methodology, developmental robotics projects typically focus on having robots develop the same types of skills as human infants. A first category that is important being investigated is the acquisition of sensorimotor skills. These include the discovery of one's own body, including its structure and dynamics such as hand-eye coordination, locomotion, and interaction with objects as well as tool use, with a particular focus on the discovery and learning of affordances. A second category of skills targeted by developmental robots are social and linguistic skills: the acquisition of simple social behavioural games such as turn-taking, coordinated interaction, lexicons, syntax and grammar, and the grounding of these linguistic skills into sensorimotor skills (sometimes referred as symbol grounding). In parallel, the acquisition of associated cognitive skills are being investigated such as the emergence of the self/non-self distinction, the development of attentional capabilities, of categorization systems and higher-level representations of affordances or social constructs, of the emergence of values, empathy, or theories of mind. === Mechanisms and constraints === The sensorimotor and social spaces in which humans and robot live are so large and complex that only a small part of potentially learnable skills can actually be explored and learnt within a life-time. Thus, mechanisms and constraints are necessary to guide developmental organisms in their development and control of the growth of complexity. There are several important families of these guiding mechanisms and constraints which are studied in developmental robotics, all inspired by human development: Motivational systems, generating internal reward signals that drive exploration and learning, which can be of two main types: extrinsic motivations push robots/organisms to maintain basic specific internal properties such as food and water level, physical integrity, or light (e.g. in phototropic systems); intrinsic motivations push robot to search for novelty, challenge, compression or learning progress per se, thus generating what is sometimes called curiosity-driven learning and exploration, or alternatively active learning and exploration; Social guidance: as humans learn a lot by interacting with their peers, developmental robotics investigates mechanisms that can allow robots to participate to human-like social interaction. By perceiving and interpreting social cues, this may allow robots both to learn from humans (through diverse means such as imitation, emulation, stimulus enhancement, demonstration, etc. ...) and to trigger natural human pedagogy. Thus, social acceptance of developmental robots is also investigated; Statistical inference biases and cumulative knowledge/skill reuse: biases characterizing both representations/encodings and inference mechanisms can typically allow considerable improvement of the efficiency of learning and are thus studied. Related to this, mechanisms allowing to infer new knowledge and acquire new skills by reusing previously learnt structures is also an essential field of study; The properties of embodiment, including geometry, materials, or innate motor primitives/synergies often encoded as dynamical systems, can considerably simplify the acquisition of sensorimotor or social skills, and is sometimes referred as morphological computation. The interaction of these constraints with other constraints is an important axis of investigation; Maturational constraints: In human infants, both the body and the neural system grow progressively, rather than being full-fledged already at birth. This implies, for example, that new degrees of freedom, as well as increases of the volume and resolution of available sensorimotor signals, may appear as learning and development unfold. Transposing these mechanisms in developmental robots, and understanding how it may hinder or on the contrary ease the acquisition of novel complex skills is a central questi

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  • Fuzzy logic

    Fuzzy logic

    Fuzzy logic is a form of many-valued logic in which the truth value of variables may be any real number between 0 and 1. It is employed to handle the concept of partial truth, where the truth value may range between completely true and completely false. By contrast, in Boolean logic, the truth values of variables may only be the integer values 0 or 1. The term fuzzy logic was introduced with the 1965 proposal of fuzzy set theory by mathematician Lotfi Zadeh. Basic fuzzy logic had, however, been studied since the 1920s, as infinite-valued logic—notably by Łukasiewicz and Tarski. The works of Zadeh and Joseph Goguen in the 1960s and 1970s went further by considering issues such as linguistic variables and lattices. Fuzzy logic is based on the observation that people make decisions based on imprecise and non-numerical information. Fuzzy models or fuzzy sets are mathematical means of representing vagueness and imprecise information (hence the term fuzzy). These models have the capability of recognising, representing, manipulating, interpreting, and using data and information that are vague and lack certainty. Fuzzy logic has been applied to many fields, from control theory to artificial intelligence. == Overview == Classical logic only permits conclusions that are either true or false. However, there are also propositions with variable answers, which one might find when asking a group of people to identify a color. In such instances, the truth appears as the result of reasoning from inexact or partial knowledge in which the sampled answers are mapped on a spectrum. Both degrees of truth and probabilities range between 0 and 1 and hence may seem identical at first, but fuzzy logic uses degrees of truth as a mathematical model of vagueness, while probability is a mathematical model of ignorance. === Applying truth values === A basic application might characterize various sub-ranges of a continuous variable. For instance, a temperature measurement for anti-lock brakes might have several separate membership functions defining particular temperature ranges needed to control the brakes properly. Each function maps the same temperature value to a truth value in the 0 to 1 range. These truth values can then be used to determine how the brakes should be controlled. Fuzzy set theory provides a means for representing uncertainty. === Linguistic variables === In fuzzy logic applications, non-numeric values are often used to facilitate the expression of rules and facts. A linguistic variable such as age may accept values such as young and its antonym old. Because natural languages do not always contain enough value terms to express a fuzzy value scale, it is common practice to modify linguistic values with adjectives or adverbs. For example, we can use the hedges rather and somewhat to construct the additional values rather old or somewhat young. == Fuzzy systems == === Mamdani === The most well-known system is the Mamdani rule-based one. It uses the following rules: Fuzzify all input values into fuzzy membership functions. Execute all applicable rules in the rulebase to compute the fuzzy output functions. De-fuzzify the fuzzy output functions to get "crisp" output values. ==== Fuzzification ==== Fuzzification is the process of assigning the numerical input of a system to fuzzy sets with some degree of membership. This degree of membership may be anywhere within the interval [0,1]. If it is 0 then the value does not belong to the given fuzzy set, and if it is 1 then the value completely belongs within the fuzzy set. Any value between 0 and 1 represents the degree of uncertainty that the value belongs in the set. These fuzzy sets are typically described by words, and so by assigning the system input to fuzzy sets, we can reason with it in a linguistically natural manner. For example, in the image below, the meanings of the expressions cold, warm, and hot are represented by functions mapping a temperature scale. A point on that scale has three "truth values"—one for each of the three functions. The vertical line in the image represents a particular temperature that the three arrows (truth values) gauge. Since the red arrow points to zero, this temperature may be interpreted as "not hot"; i.e. this temperature has zero membership in the fuzzy set "hot". The orange arrow (pointing at 0.2) may describe it as "slightly warm" and the blue arrow (pointing at 0.8) "fairly cold". Therefore, this temperature has 0.2 membership in the fuzzy set "warm" and 0.8 membership in the fuzzy set "cold". The degree of membership assigned for each fuzzy set is the result of fuzzification. Fuzzy sets are often defined as triangle or trapezoid-shaped curves, as each value will have a slope where the value is increasing, a peak where the value is equal to 1 (which can have a length of 0 or greater) and a slope where the value is decreasing. They can also be defined using a sigmoid function. One common case is the standard logistic function defined as S ( x ) = 1 1 + e − x {\displaystyle S(x)={\frac {1}{1+e^{-x}}}} which has the following symmetry property S ( x ) + S ( − x ) = 1. {\displaystyle S(x)+S(-x)=1.} From this it follows that ( S ( x ) + S ( − x ) ) ⋅ ( S ( y ) + S ( − y ) ) ⋅ ( S ( z ) + S ( − z ) ) = 1 {\displaystyle (S(x)+S(-x))\cdot (S(y)+S(-y))\cdot (S(z)+S(-z))=1} ==== Fuzzy logic operators ==== Fuzzy logic works with membership values in a way that mimics Boolean logic. To this end, replacements for basic operators ("gates") AND, OR, NOT must be available. There are several ways to accomplish this. A common replacement is called the Zadeh operators: For TRUE/1 and FALSE/0, the fuzzy expressions produce the same result as the Boolean expressions. There are also other operators, more linguistic in nature, called hedges that can be applied. These are generally adverbs such as very, or somewhat, which modify the meaning of a set using a mathematical formula. However, an arbitrary choice table does not always define a fuzzy logic function. In the paper (Zaitsev, et al), a criterion has been formulated to recognize whether a given choice table defines a fuzzy logic function and a simple algorithm of fuzzy logic function synthesis has been proposed based on introduced concepts of constituents of minimum and maximum. A fuzzy logic function represents a disjunction of constituents of minimum, where a constituent of minimum is a conjunction of variables of the current area greater than or equal to the function value in this area (to the right of the function value in the inequality, including the function value). Another set of AND/OR operators is based on multiplication, where Given any two of AND/OR/NOT, it is possible to derive the third. The generalization of AND is an instance of a t-norm. ==== IF-THEN rules ==== IF-THEN rules map input or computed truth values to desired output truth values. Example: Given a certain temperature, the fuzzy variable hot has a certain truth value, which is copied to the high variable. Should an output variable occur in several THEN parts, the values from the respective IF parts are combined using the OR operator. ==== Defuzzification ==== The goal is to get a continuous variable from fuzzy truth values. This would be easy if the output truth values were exactly those obtained from fuzzification of a given number. Since, however, all output truth values are computed independently, in most cases they do not represent such a set of numbers. One has then to decide for a number that matches best the "intention" encoded in the truth value. For example, for several truth values of fan_speed, an actual speed must be found that best fits the computed truth values of the variables 'slow', 'moderate' and so on. There is no single algorithm for this purpose. A common algorithm is For each truth value, cut the membership function at this value Combine the resulting curves using the OR operator Find the center-of-weight of the area under the curve The x position of this center is then the final output. === Takagi–Sugeno–Kang (TSK) === The Takagi–Sugeno or Takagi–Sugeno–Kang (TSK) system was introduced by Tomohiro Takagi and Michio Sugeno for fuzzy identification of systems and applications to modeling and control. Sugeno and Kang later developed methods for structure identification of such fuzzy models from input-output data. The TSK system is similar to Mamdani, but the defuzzification process is included in the execution of the fuzzy rules. These are also adapted, so that instead the consequent of the rule is represented through a polynomial function, usually constant in a zero-order model or linear in a first-order model. An example of a rule with a constant output would be: In this case, the output will be equal to the constant of the consequent (e.g. 2). In most scenarios we would have an entire rule base, with 2 or more rules. If this is the case, the output of the entire rule base will be the average of the consequent of each rule i (Y

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  • Torment: Tides of Numenera

    Torment: Tides of Numenera

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

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