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AI Content Platform — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • YNAB

    YNAB

    You Need a Budget (YNAB) (pronounced ) is an online personal budgeting program based on the envelope system developed by a privately owned American company of the same name. It is available via any web browser or a mobile app. == History == The program was initially developed as standalone software in 2004 by Jesse Mecham, while he was in college pursuing his master's degree in accounting, after he and his wife faced financial difficulty and decided to improve their budgeting. It evolved from a spreadsheet that he created for the budgeting process. The acronym stands for "you need a budget." In 2015 they changed their licensing model to software as a service. In 2020, YNAB had 115 employees, all working remotely. == Overview == The service encourages users to follow four principles or "rules": Give every dollar a job: Each dollar in a budget is allocated to a specific purpose. This concept is also called zero-based budgeting. Embrace true expenses: All expenses are planned for, so that there are no surprises. Roll with the punches: Being flexible when there is overspending. Age your money: Keeping money in your budget without immediately spending it. Users can either import transactions automatically from their financial institutions or input them manually. The software also displays financial reports to keep users informed about their finances at a glance. == Awards and recognition == YNAB has been named one of the best budgeting apps by U.S. News & World Report, Kiplinger's Personal Finance, CNN, HuffPost, CNBC, and hundreds of other financial reporting outlets. The Wall Street Journal – Best budgeting app for hands-on budgeters. Forbes – Best Budgeting Apps Money – Best budgeting app for college students. Lifehacker – Most popular personal finance software. Wirecutter – "Great pick for hard-core budgeters". Investopedia – Best overall budgeting app.

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  • A Fire Upon the Deep

    A Fire Upon the Deep

    A Fire Upon the Deep is a 1992 science fiction novel by American writer Vernor Vinge. It is a space opera involving superhuman intelligences, aliens, variable physics, space battles, love, betrayal, genocide, and a communication medium resembling Usenet. A Fire Upon the Deep won the Hugo Award in 1993, sharing it with Doomsday Book by Connie Willis. Besides the normal print book editions, the novel was also included on a CD-ROM sold by ClariNet Communications along with the other nominees for the 1993 Hugo awards. The CD-ROM edition included numerous annotations by Vinge on his thoughts and intentions about different parts of the book, and was later released as a standalone e-book. It has a loose prequel, A Deepness in the Sky, from 1999, and a direct sequel, The Children of the Sky, from 2012. == Setting == The novel is set in various locations within the Milky Way. The galaxy is divided into four concentric volumes called the "Zones of Thought"; it is not clear to the novel's characters whether this is a natural phenomenon or an artificially created one. Each Zone has fundamental differences in basic physical laws. One of the main consequences of these differences is the effect on intelligence. Artificial intelligence and automation is most directly affected, in that advanced hardware and software from the Beyond or the Transcend will work less and less well as a ship descends towards the Unthinking Depths. Biological intelligence is affected to a lesser degree. The four zones are spoken of in terms of "low" to "high" as follows: The Unthinking Depths are the innermost zone, surrounding the Galactic Center. In it, only minimal forms of intelligence, biological or otherwise, are possible. This means that any ship straying into the Depths will be stranded, effectively permanently. Even if the crew did not die immediately—and some forms of life native to "higher" Zones would likely do so—they would be rendered incapable of even human intelligence, leaving them unable to operate their ship in any meaningful way. Surrounding the Depths is the Slow Zone or Slowness. "Old Earth" is in this Zone, although Earth plays no significant role in the story. Biological intelligence is possible in "the Slowness", but not true, sentient, artificial intelligence. Faster than light travel (FTL) is impossible in the Slow Zone. Faster-than-light communication is impossible into or out of the Slow Zone. As the boundaries of the Zones are subject to change, accidental entry into the Slow Zone is a major hazard at the "Bottom" of the Beyond. Starships which operate near the Beyond/Slow Zone border often have an auxiliary Bussard ramjet drive, so that if they accidentally stray into the Slow Zone, they will at least have a backup (sub-light) drive to try to reach the Beyond. Such ships also tend to include "coldsleep" equipment, as it is likely that any such return will still take many lifetimes for most species. The next layer outward is the Beyond, within which artificial intelligence, FTL travel, and FTL communication are possible. All human civilizations in the Beyond are descended from a single ethnic Norwegian group. The original settlement of this group is known as Nyjora; other human settlements in the Beyond include Straumli Realm and Sjandra Kei. In the Beyond, FTL travel is accomplished by making many small "jumps" across space, with the efficiency of the drive increasing the farther a ship travels from the galactic core. The Beyond is not a homogeneous zone; it includes the "High Beyond", "Middle Beyond", and the "Bottom of the Beyond", depending on distance from the galactic core. The Beyond is populated by a very large number of interstellar and intergalactic civilizations which are linked by an FTL communication network, "the Net", sometimes cynically called the "Net of a Million Lies". The Net is depicted as working much like the Usenet network in the early 1990s, with transcripts of messages containing header and footer information as one would find in such forums. The outermost layer, containing the galactic halo, is the Transcend, within which incomprehensible, superintelligent beings dwell. When a "Beyonder" civilization reaches the point of technological singularity, it can "Transcend", becoming a "Power". Such Powers always seem to relocate to the Transcend, seemingly necessarily, where they become engaged in activities which are entirely mysterious to those in the Beyond. == Plot == An expedition from Straumli Realm, a human civilization in the High Beyond, investigates a newly discovered data archive in the Low Transcend. The expedition's facility, High Lab, is gradually compromised by a superintelligence that is accidentally awoken by the researchers. This superintelligence is later known as the Blight. Shortly before the Blight's final "flowering", two self-aware entities, created similarly to the Blight, plot to aid the humans before the Blight can gain its full powers. Finally recognizing their danger, the High Lab researchers attempt to flee in two ships. The Blight destroys one ship; a second ship, carrying many High Lab children in coldsleep boxes, escapes. This ship lands on a distant planet at the Bottom of the Beyond. The planet is occupied by dog-like creatures, dubbed "Tines", who live in packs as group minds. The Tines have a level of technology comparable to the human Middle Ages. Upon landing, however, the two surviving adults, Arne and Sjana Olnsdot, are ambushed and killed by Tine fanatics known as Flenserists, in whose realm they have landed. The Flenserists capture their children, Jefri and Johanna. Johanna is rescued by a Tine named Peregrine and taken to a neighboring kingdom ruled by Woodcarver. A distress signal from the Straumli ship eventually reaches Relay, a major information provider for the Net. A Transcendent being named "Old One" contacts Relay, seeking information about the Blight and the humans who released it. Old One then reconstitutes a human man named Pham Nuwen from the wreckage of a spaceship to act as its agent. Pham remains unsure if he is a construct or if his memories are real. Ravna Bergsndot, the only human Relay employee, traces the Straumli ship's signal to the Tines' world and persuades her employer to investigate. Ravna contracts the merchant vessel Out of Band II to transport her and Pham. The ship is owned by two Skroderiders, Blueshell and Greenstalk. Before the mission is launched, the Blight launches a surprise attack on Relay and kills Old One. As Old One dies, it downloads its anti-Blight information into Pham. Pham, Ravna and the Skroderiders barely escape Relay's destruction in the Out of Band II. During their journey to Tine's World, Ravna communicates with Jefri. Jefri is manipulated to believe that Woodcarver is his enemy. The Flenserist leaders, Steel and Tyrathect, use Ravna's information to develop advanced technology such as cannon and radio communication. Meanwhile, Johanna and the knowledge stored in her dataset device help Woodcarver rapidly develop as well. The Blight expands, taking over several civilizations, brainwashing their populations, and seizing archives in the Beyond. On the Net, some claim that humans are the means by which the Blight is able to spread. Anti-human fanatics destroy the entire civilization of Sjandra Kei, which is Ravna's home world. The Out of Band II is pursued by three fleets: anti-human fanatics, survivors from Sjandra Kei, and a shadow fleet controlled by the Blight. During the pursuit, Ravna and Pham learn that every member of the Skroderider species can be subverted by the Blight; this drives a wedge between the crew members. Ships from Sjandra Kei sacrifice themselves to delay the Blight and the anti-human ships, allowing the Out of Band II to reach Tine's World before the Blight. When the Out of Band II arrives at Tine's World, the humans ally with Woodcarver to defeat the Flenserists and rescue Jefri. Blueshell sacrifices himself to rescue Jefri. Pham then initiates an anti-Blight Countermeasure, which was aboard the humans' ship. The Countermeasure extends the Slow Zone outward by thousands of light years. This envelops and destroys the Blight, but results in the destruction of thousands of civilizations and trillions of deaths. The humans are stranded on the Tines' World, now in the depths of the Slow Zone. Activating the Countermeasure proves fatal to Pham, but before he dies, the remnant of Old One reveals to him that, although his body is a reconstruction, his memories are indeed real. == Related works == Vinge first used the concepts of "Zones of Thought" in a 1988 novella The Blabber, which occurs after Fire. Vinge's novel A Deepness in the Sky (1999) is a prequel to A Fire Upon the Deep set 20,000 years earlier and featuring Pham Nuwen. Vinge's The Children of the Sky, "a near-term sequel to A Fire Upon the Deep", set ten years later, was released in October 2011. Vinge's former wife, Joan D. Vinge, has also written s

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  • YouNoodle

    YouNoodle

    YouNoodle, Inc. is a San Francisco-based company, with offices in Barcelona and Santiago, founded in 2010, building a platform for entrepreneurship competitions all over the world. YouNoodle matches entrepreneurs with competitions, accelerators, and startup programs, and provides a judging and voting SaaS platform to university, non-profit, government and enterprise clients organizing innovation challenges and competitions. Stanford's BASES, UC Berkeley LAUNCH, Start-Up Chile, Amazon Startup Challenge, and NASA are all running one or more competitions on YouNoodle's platform. == History and structure == YouNoodle was founded by Rebeca Hwang and Torsten Kolind in 2010. The company was spun off a project started by Bob Goodson (Quid) and Kirill Makharinsky (Enki) in 2007 with support from Peter Thiel (Founders Fund), Max Levchin (PayPal) and Charles Lho (Amicus Group), founding investor and Chairman of YouNoodle today. This project also spawned Quid (Goodson) and indirectly Ostrovok (Makharinsky). Although also named YouNoodle, this project/company was discontinued in 2010, when the three new entities started operations. The founders of the 2007-2010 entity were Goodson and Makharinsky, both former students of the University of Oxford. Goodson had studied medieval English literature before moving from Oxford to California when Levchin, the co-founder of PayPal, invited him to join a start-up there. Makharinsky's degree was in applied mathematics, and he was also encouraged to pursue opportunities in the United States by Levchin. Other significant employees included Hwang (co-founder of today's YouNoodle), a Stanford University doctoral student whose research is into social network theory. == Startup predictor == YouNoodle's now discontinued "Startup predictor", part of the 2007-2010 entity and developed by Makharinsky and Hwang, used mathematical models to predict the success of new businesses. The user fills in a questionnaire, which takes about half an hour to complete and concentrates on the business concept, finances, founders and advisers. Because the procedure was designed for new companies, questions on revenue and traffic are not included. The site then provided an estimate of what the company's value will be after three years and a score from 1 to 1000 representing its value as an investment. The service was free for the startups themselves, but YouNoodle intended to charge third parties for access to the results. The level of detail required by the questionnaire makes it difficult for people without inside knowledge of a company to provide the data for a prediction on their own. The company's founders have declined to explain the algorithm in detail, but state that it takes into account the entrepreneurs' experience, networks and mutual relations. Information provided by companies which use the site's networking features is used to improve the algorithm. As of August 2008, the algorithm was based on data from 3,000 startups. In the same month the company had four patents pending on the technology.

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  • AI Snake Oil

    AI Snake Oil

    AI Snake Oil: What Artificial Intelligence Can Do, What It Can't, and How to Tell the Difference is a 2024 non-fiction book written by scholars Arvind Narayanan and Sayash Kapoor. It is a critique of the tech industry's overly inflated promises and capabilities of artificial intelligence (AI) as well as a debunking of the flawed science fueling AI hype while attempting to outline both the potential positives and negatives that come with different modes of the technology. == Contents == === Publication === The book was published in September 2024 by the Princeton University Press. AI Snake Oil consists of 360 pages and features eight chapters, and sections for acknowledgements, references, and an index. An updated edition with a new preface and epilogue by the authors was published in September 2025. The authors use the term "AI snake oil" derived from the U.S. idiom for a fraudulent remedy, to describe overhyped AI systems. === Chapter one: Introduction === Narayanan and Kapoor argue that many individuals do not yet have the literacy to detect functioning aspects of AI compared to potential snake oil, which they identify as "AI that does not and cannot work as advertised". Some of the major examples utilized by the authors include Allstate's 2013 use of predictive AI, as well as the concern surrounding actors and AI attempting to replicate or use their likeness. Important discussions regarding discrimination are brought up and explored in the first chapter, including the false arrests of six Black individuals due to errors with AI facial recognition tools. The chapter concludes with a comparison to the Industrial Revolution, where Narayanan and Kapoor highlight the extensive human labour that is necessary for artificial intelligence technologies to function. === Chapter two: How Predictive AI Goes Wrong === Chapter two focuses on predictive artificial intelligence, and criticizes the overestimation of the capabilities of the technology. === Chapter three: Why Can't AI Predict the Future? === Chapter three works to inform the reader about the history of early computational prediction attempts, with examples from companies like Simulatics. === Chapter four: The Long Road to Generative AI === The fourth chapter goes in more in-depth in explorations of generative AI. Generative AI software examples include ChatGPT, Midjourney, and DALL-E. The section begins with a positive example of generative AI. As the chapter progresses, the authors begin to provide examples of harm produced by generative AI, including the suicide of a Belgian man after connecting with Chai, a generative chatbot. Issues of deepfakes and preservation of artistic property are also discussed. The use of generative AI to create non-consensual pornographic deepfake content is discussed in relation to female celebrities. === Chapter five: Is Advanced AI an Existential Threat? === The fifth chapter draws attention the AGI, or Artificial General Intelligence. The authors describe AGI as "AI that can perform most or economically relevant tasks as effectively as any human". They summarize that many contributors to the field of artificial intelligence believe AGI to be an impending threat that demands attention. However, they argue that the perceived threat of AGI would only exist if the technology continually functioned reliably. In order to better illustrate the hype surrounding AGI, Narayanan and Kapoor use the Ladder of Generality, which is described as a visual tool in which "each rung represents a way of computing that is more flexible, and more general, than the previous one". They note that we are not yet aware of the next rungs on the ladder, or if the ladder will eventually result in a dead end. The rungs that have been identified so far are as follows: (0, or floor) special purpose hardware, (1) programmable computers, (2) stored program computers, (3) machine learning, (4) deep learning, (5) pretrained models, and, finally, (6) instruction-tuned models. The potential for future rungs and what those rungs might be are currently undetermined. The chapter also discusses the ELIZA effect, which Lawrence Switzky discusses in his article "ELIZA Effects". Switzky attributes the coined term ELIZA Effect to Sherry Turke, who defined it as "our more general tendency to treat responsive computer programs as more intelligent than they really are". === Chapter six: Why Can't AI Fix Social Media? === The sixth chapter focuses on content moderation, why it is important, and how it has been and could be affected by artificial automation. The first issue raised in regard to AI-driven content moderation is the inability for computers and machines to understand context and nuance, resulting in potential for discriminatory moderation and shadow banning. While they note that there are issues with automating content moderation, Narayanan and Kapoor also highlight the psychological impact on human content moderators and their labour. They indicate the hidden labour behind moderation, which is often outsourced to less developed countries, where labourers sort through potentially traumatizing content for pay. However, the discussion focuses more heavily on why automated moderation can be problematic, including discriminatory algorithms and lack of nuance. To balance their argument, issues of discrimination and bias are also discussed in relation the human content moderators. To automate moderation, there are two types of AI used, which are fingerprint matching and machine learning. === Chapter seven: Why Do Myths about AI Persist? === The seventh chapter outlines possible factors that contribute to hype surrounding AI. Narayanan and Kapoor explain how companies often promote their new AI models without properly disclosing how the model works, and what it is learning from. They attribute hype to several different groups, including journalists, researchers, and companies. They explain the impact of companies and the misplaced hype that they spread can be attributed to greed and a desire to grow corporate funds. For journalists, one of the stated sources of hype, they argue that news media has a tendency to prioritize financial incentives over validity and quality of writing. As well, Narayanan and Kapoor point out the emergence of company statement regurgitation in news media, leading to clickbait. Hype from researchers is potentially linked to lack of reproducibility in studies as well as leakage, which occurs when AI models are tested on their training data. === Chapter eight: Where do we go from here? === The final chapter, chapter eight, turns its attention to the future. The authors express their ideas and predictions for how the technology will evolve and be utilized in the upcoming years. == Authors == Author Narayanan is a computer science professor at Princeton University. Kapoor is a doctoral candidate at the same university, and both scholars are located at the Center for Information Technology at Princeton. In 2023, Narayanan and Kapoor appeared on the TIME100 Artificial Intelligence list, which features influential figures in the field. == Reception == Nature, a science and technology peer-reviewed journal, released an article highlighting the top "10 essential reads from the past year", listing Arvind Narayanan and Sayash Kapoor's AI Snake Oil. The article states the that text is "one of the best on this controversial subject". Elizabeth Quill, in her review of the text in Science News, writes that the authors "squarely achieve their stated goal: to empower people to distinguish AI that works well from AI snake oil". Joshua Rothman of The New Yorker writes that "compared with many technologists, Narayanan, Kapoor, and Vallor [Shannon Vallor, University of Edinburgh], are deeply skeptical about today's A.I. technology and what it can achieve. Perhaps they shouldn't be". Rothman argues, following an interview with prominent computer scientist Geoffrey Hinton of University of Toronto, that the potential for AI to replicate complexity is already here and continues to be heavily funded, enhancing the prospective capabilities of the technology. However, he does praise the author's ability to address questions regarding the existential human experience. Alexya Martinez discusses the text in a book review for Journalism and Mass Communication Quarterly, critiquing AI Snake Oil for its extensive focus on the West. Martinez writes that Narayanan and Kapoor "do not fully explore how AI impacts other countries", and suggests more focus on countries outside of the United States to enhance their argument.

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  • Automated attendant

    Automated attendant

    In telephony, an automated attendant (also auto attendant, auto-attendant, autoattendant, automatic phone menus, AA, or virtual receptionist) allows callers to be automatically transferred to an extension without the intervention of an operator/receptionist. Many AAs will also offer a simple menu system ("for sales, press 1, for service, press 2," etc.). An auto attendant may also allow a caller to reach a live operator by dialing a number, usually "0". Typically the auto attendant is included in a business's phone system such as a PBX, but some services allow businesses to use an AA without such a system. Modern AA services (which now overlap with more complicated interactive voice response or IVR systems) can route calls to mobile phones, VoIP virtual phones, other AAs/IVRs, or other locations using traditional land-line phones or voice message machines. == Feature description == Telephone callers will recognize an automated attendant system as one that greets calls incoming to an organization with a recorded greeting of the form, "Thank you for calling .... If you know your party's extension, you may dial it any time during this message." Callers who have a touch-tone (DTMF) phone can dial an extension number or, in most cases, wait for operator ("attendant") assistance. Since the telephone network does not transmit the DC signals from rotary dial telephones (except for audible clicks), callers who have rotary dial phones have to wait for assistance. On a purely technical level it could be argued that an automated attendant is a very simple kind of IVR however, in the telecom industry the terms IVR and auto attendant are generally considered distinct. An automated attendant serves a very specific purpose (replace live operator and route calls), whereas an IVR can perform all sorts of functions (telephone banking, account inquiries, etc.). An AA will often include a directory which will allow a caller to dial by name in order to find a user on a system. There is no standard format to these directories, and they can use combinations of first name, last name, or both. The following lists common routing steps that are components of an automated attendant: Transfer to extension Transfer to voicemail Play message (i.e., "our address is ...") Go to a sub-menu Repeat choices In addition, an automated attendant would be expected to have values for the following: '0' – where to go when the caller dials '0' Timeout – what to do if the caller does nothing (usually go to the same place as '0') Default mailbox – where to send calls if '0' is not answered (or is not pointing to a live person) == Background == PBXs (private branch exchanges) or PABXs (private automatic branch exchanges) are telephone systems that serve an organization that has many telephone extensions but fewer telephone lines (sometimes called "trunks") that connect that organization to the rest of the global telecommunications network. While persons within an enterprise served by a PBX can call each other by dialing their extension numbers, incoming calls, i.e., calls originating from a telephone not served by the PBX but intended for a party served by the PBX, required assistance from a switchboard operator (also called a "switchboard attendant") or a telephone service called DID ("direct inward dialing"). Direct inward dialing has advantages such as rapid connection to the destination party and disadvantages including cost, lack of identification of the called organization and use of ten-digit telephone numbers. Automated attendants provide, among many other things, a way for an external caller to be directed to an extension or department served by a PBX system without using direct inward dialing or without switchboard attendant assistance. == History == Automated attendants are not part of voicemail systems. Voice messaging (or voicemail or VM) technology has existed since the late 1970s; in the early 1980s companies provided voice-prompting systems that allowed callers to reach (route the call) to an intended party, not necessarily to leave a message. Automated attendant systems are also referred to as automated menu systems and much early work in this field was done by Michael J. Freeman, Ph.D. == Time-based routing == Many auto attendants will have options to allow for time-of-day routing, as well as weekend and holiday routing. The specifics of these features will depend entirely on the particular automated attendant, but typically there would be a normal greeting and routing steps that would take place during normal business hours, and a different greeting and routing for non-business hours.

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  • Ideogram (text-to-image model)

    Ideogram (text-to-image model)

    Ideogram is a freemium text-to-image model developed by Ideogram, Inc. using deep learning methodologies to generate digital images from natural language descriptions known as prompts. The model is capable of generating legible text in the images compared to other text-to-image models. == History == Ideogram was founded in 2022 by Mohammad Norouzi, William Chan, Chitwan Saharia, and Jonathan Ho to develop a better text-to-image model. It was first released with its 0.1 model on August 22, 2023, after receiving $16.5 million in seed funding, which itself was led by Andreessen Horowitz and Index Ventures. In February 2024, Ideogram raised $80 million after its 1.0 model release in the same year. In August 2024, Ideogram released its 2.0 model. This model has several styles such as realistic, design, 3D, and anime and better capability in generating text. In February 2025, Ideogram released 2a model. This model was designed for speed and optimized for graphics design and photography generation. In March 2025, Ideogram released its 3.0 model. This model has improved realism and understanding of complex text layout, although like other generative AI models, it still struggles with ambigram creation.

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  • IJCAI Award for Research Excellence

    IJCAI Award for Research Excellence

    The IJCAI Award for Research Excellence is a biannual award before given at the IJCAI conference to researcher in artificial intelligence as a recognition of excellence of their career. Beginning in 2016, the conference is held annually and so is the award. == Laureates == The recipients of this award have been: John McCarthy (1985) Allen Newell (1989) Marvin Minsky (1991) Raymond Reiter (1993) Herbert A. Simon (1995) Aravind Joshi (1997) Judea Pearl (1999) Donald Michie (2001) Nils Nilsson (2003) Geoffrey E. Hinton (2005) Alan Bundy (2007) Victor R. Lesser (2009) Robert Kowalski (2011) Hector Levesque (2013) Barbara Grosz (2015) for her pioneering research in Natural Language Processing and in theories and applications of Multiagent Collaboration. Michael I. Jordan (2016) for his groundbreaking and impactful research in both the theory and application of statistical machine learning. Andrew Barto (2017) for his pioneering work in the theory of reinforcement learning. Jitendra Malik (2018) Yoav Shoham (2019) Eugene Freuder (2020) Richard S. Sutton (2021) Stuart J. Russell (2022) Sarit Kraus (2023) for her pioneering work of the study of interactions among self-interested agents, creating the field of automated negotiation, and developing methods for coalition formation and teamwork, both as formal models and real-world implementations. == Winners of also Turing Award == John McCarthy (1971) Allen Newell (1975) Marvin Minsky (1969) Herbert A. Simon (1975) Judea Pearl (2011) Geoffrey Hinton (2018) Andrew Barto (2024) Richard S. Sutton (2024)

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  • Sourcegraph

    Sourcegraph

    Sourcegraph Inc. is a company developing code search and code intelligence tools that semantically index and analyze large codebases so that they can be searched across commercial, open-source, local, and cloud-based repositories. The company has two core products: Code Search and Amp. A previous core product, Cody, retains limited legacy support for existing customers. Code Search was initially released in 2013 under the name Sourcegraph, but was rebranded to Code Search when the company unveiled Cody in 2023. As of 2021, the platform has around 800,000 developers and has indexed around 54 billion lines of code. In July 2025, new accounts for Cody were discontinued, and a new AI coding project, Amp, was released. In December 2025, Amp was spun-off to become a separate company. == History == Sourcegraph Inc. was founded by Stanford graduates Quinn Slack and Beyang Liu to drive the development of a code search and code intelligence tool, formerly called Sourcegraph. It was first released in 2013 but was rebranded to Code Search in 2023. It was partly inspired by Liu's experience using Google Code Search while he was a Google intern, It was designed to "tackle the big code problem" by enabling developers to manage large codebases that span multiple repositories, programming languages, file formats, and projects. Code Search was initially self-hosted by each customer on their own infrastructure. Early customers included Uber, Dropbox, and Lyft. In 2016, Code Search was criticized for being provided with a Fair Source License with the developers explaining that "all of Sourcegraph's source code is publicly available and hackable" and was intended to "help open sourcers strike a balance between getting paid and preserving their values". In 2018, Code Search was licensed under the Apache License 2.0, and Sourcegraph OSS has since been released under the Apache License 2.0. The commercial version, Code Search Enterprise, has been released under its own license. In 2023, Code Search was criticized for dropping the Apache license for most of its code, leaving it public but only available under its Enterprise license. In 2024, the main repository was made completely private. In 2019, Code Search was integrated into the GitLab codebase, giving GitLab users access to a browser-based developer platform. In 2021, a browser-based portal became available, allowing users to browse open-source projects and personal private code for free. In 2022, Sourcegraph Cloud, a commercial single-tenant cloud solution for organizations with more than 100 developers, was launched. Sourcegraph has raised a total of $223 million in financing to date. Its most recent $125 million Series D investment in 2021 valued the company at $2.625 billion, a 300% growth from its previous valuation in 2020. In 2023 Sourcegraph Inc. unveiled their new product Cody, and rebranded Sourcegraph to Code Search. In 2025, Sourcegraph announced the discontinuation of Cody Free, Pro, and Enterprise Starter plans, effective July 23, 2025, and launched Amp, a new AI coding agent. == Products == The company has three major products: Code Search, Amp, and Cody. === Sourcegraph Code Search === Code Search tool is used to search and summarize code. It supports over 30 programming languages and integrates with GitHub and GitLab for code hosting, Codecov for code coverage, and Jira Software for project management. Sourcegraph's Code Search uses a variant of Google's PageRank algorithm to rank results by relevance. While it was originally launched under the Apache License, on June 13, 2023, it was relicensed to the non-open-source "Sourcegraph Enterprise" license. Then, on August 22, 2024, the source code was moved to a private repository, and thus no longer source-available. === Sourcegraph Amp === Launched in 2025, Amp can generate code, generate documentation, write tests, and perform refactoring operations on projects. The tool operates on a credit-based pricing model and is available through web interfaces, command-line tools, and IDE extensions. In December 2025, Sourcegraph announced that Amp would be spun-off to become a separate company. === Sourcegraph Cody === Cody is an AI coding application for writing and maintaining code. Cody was released in December 2023 and was available for Microsoft Visual Studio Code and most JetBrains IDEs. As of July 2025, Cody Free, Pro, and Enterprise Starter plans have been discontinued, with only Cody Enterprise remaining available for existing enterprise customers.

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  • Data classification (data management)

    Data classification (data management)

    Data classification is the process of organizing data into categories based on attributes like file type, content, or metadata. The data is then assigned class labels that describe a set of attributes for the corresponding data sets. The goal is to provide meaningful class attributes to former less structured information, enabling organizations to manage, protect, and govern their data more effectively. Data classification can be viewed as a multitude of labels that are used to define the type of data, especially on confidentiality and integrity issues. == Approaches == Classification techniques might be used for reports generated by ERP systems or where the data includes specific personal information that is identified. Many organizations also employ context-based classification that considers factors such as data source, user identity, and application context. == Regulatory frameworks == Data classification schemes are mandated or implied by numerous regulatory frameworks that require organizations to identify, categorize, and protect sensitive information according to its level of sensitivity. The Health Insurance Portability and Accountability Act (HIPAA) Security Rule requires covered entities to conduct an accurate and thorough assessment of potential risks and vulnerabilities to the confidentiality, integrity, and availability of protected health information under 45 CFR 164.308(a)(1)(ii)(A), which necessitates classification of data to distinguish protected health information from other organizational data."Security Standards: Administrative Safeguards". U.S. Department of Health and Human Services. Retrieved April 1, 2026. The December 2024 HIPAA Security Rule notice of proposed rulemaking (90 FR 898) would mandate comprehensive technology asset inventories and require mapping of how electronic protected health information moves through an organization, formalizing data classification as an explicit compliance obligation."HIPAA Security Rule To Strengthen the Cybersecurity of Electronic Protected Health Information". Federal Register. January 6, 2025. Retrieved April 1, 2026. NIST Special Publication 800-60 provides guidelines for mapping information types to security categories, establishing a structured methodology for federal agencies to classify data and apply appropriate security controls based on the potential impact of a security breach."NIST SP 800-60 Vol. 1 Rev. 1: Guide for Mapping Types of Information and Information Systems to Security Categories". National Institute of Standards and Technology. August 2008. Retrieved April 1, 2026.

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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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  • Darwin among the Machines

    Darwin among the Machines

    "Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."

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  • European Society for Fuzzy Logic and Technology

    European Society for Fuzzy Logic and Technology

    The European Society for Fuzzy Logic and Technology (EUSFLAT) is a scientific association with the aims to disseminate and promote fuzzy logic and related subjects (sometimes comprised under the collective terms soft computing or computational intelligence) and to provide a platform for exchange between scientists and engineers working in these fields. The society is both open for academic and industrial members. == History == EUSFLAT was founded in 1998 in Spain as the successor of the National Spanish Fuzzy Logic Society, ESTYLF, with the aim to open the society for members from other European countries. Since then, the society managed to attract a large share of members from outside Spain, and even beyond Europe, with the Spanish members still being the largest group inside EUSFLAT. For these historical reasons, the society is officially registered in Spain. == Conferences == Starting with 1999, EUSFLAT has been organizing its biannual conferences in odd years. Previous meetings: Palma de Mallorca, Balearic Islands, Spain, September 22–25, 1999 (jointly with National Spanish conference, ESTYLF) Leicester, United Kingdom, September 5–7, 2001 Zittau, Germany, September 10–12, 2003 Barcelona, Catalonia, Spain, September 7–9, 2005 (jointly with 11th Rencontres Francophones sur la Logique Floue et ses Applications) Ostrava, Czech Republic, September 11–14, 2007 Lisbon, Portugal, July 20–24, 2009 (jointly with 13th World Congress of the International Fuzzy Systems Association) Aix-les-Bains, France, July 18–22, 2011 (jointly with Les Rencontres Francophones sur la Logique Floue et ses Applications) Milan, Italy, September 11–13, 2013 Gijón, Spain, June, 30–3 July 2015 == Publications == EUSFLAT publishes the proceedings of its conferences in an open access manner. Until 2010, Mathware & Soft Computing was the official journal of EUSFLAT. On July 1, 2010, the International Journal of Computational Intelligence Systems (Atlantis Press, ISSN 1875-6891 (print) / ISSN 1875-6883 (on-line)) became the official journal of EUSFLAT. EUSFLAT publishes an electronic newsletter with three issues a year. == Presidents == EUSFLAT is led by the President, who is elected for a two-year period, and cannot serve for more than two consecutive periods. Francesc Esteva (1998–2011) Luis Magdalena (2001–2005) Ulrich Bodenhofer (2005–2009) Javier Montero (2009–2013) Gabriella Pasi (2013–present)

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  • Ulead MediaStudio Pro

    Ulead MediaStudio Pro

    Ulead MediaStudio Pro (MSP) is real-time, timeline based prosumer level video editing software by Ulead Systems. It is a suite of 5 digital video and audio applications, including: Video Capture, Video Paint, CG Infinity, Audio Editor and Video Editor. MSP is only available on the Windows platform. Since version 8.0, CG Infinity and Video Paint are separate from the MSP suite, and are being sold as a combination product called VideoGraphics Lab (VGL). On June 18, 2008, Corel formally announced that MediaStudio Pro would be discontinued. The final MediaStudio Pro version was 8.10.0039 (Pro 8 Service Pack 1) released June 2, 2006. Corel discontinued support for MediaStudio Pro in June 2009. Version 6.0 is last version to support Windows 95, although recent versions are not compatible with Windows Vista or Windows 7. == Modules == There are 5 stand-alone modules in MSP before version 8.0, they are: Video Capture – The video capturing module in MSP. Video Paint – A frame-by-frame editor which can let user to make some image or hand-drawing effects on video frames. CG Infinity – A vector-based video editing tool which allows user to create logo animation or vector graphics on video frames. Audio Editor – The audio editing tool in MSP. It can utilize DirectX audio filters and Ulead audio filters to do audio effect processing. Video Editor – The module that users do video editing with audio/video effects. It can also utilize DirectX audio filters and 3rd party video filters to do the video editing. Since version 8.0, CG Infinity and Video Paint have been separated from the MSP suite and are being sold as a combination product called VideoGraphics Lab (VGL). == Editions == Ulead MediaStudio Pro had several editions before version 7.0. They are: Full edition: this edition includes all 5 modules. Director's Cut edition: this edition has 3 modules including Video Capture, Video Editor and Audio Editor. SE edition: SE means Simple Edition or Special Edition and is an OEM bundle version. It also includes the 3 modules as Director's Cut, however, is feature limited. Sometimes it will be given freely in video magazines. After version 7.0 only Full edition is available in the MSP suite. On June 18, 2008, Corel formally announced that MediaStudio Pro would be discontinued. == Release history ==

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  • Digital fashion

    Digital fashion

    Digital fashion is a field of fashion design that relies on 3D software or artificial intelligence to produce hyper-realistic, data-intensive digital 3D garment simulations that are digital-only products or digital models for physical products. Digital garments can be worn and presented in virtual environments, social media, online gaming, virtual reality (VR), and augmented reality (AR) platforms. The field aims to contribute to the development of a more sustainable future for the fashion industry. It has been praised as a possible answer to ethical and creative concerns of traditional fashion by promoting innovation, reducing waste, and encouraging conscious consumption. However, empirical research has questioned whether digital fashion communities embody the radical and anti-consumerist values they claim. A 2025 study presented by YeSeung Lee at the FACTUM international conference on fashion communication analysed 88,141 posts across nine platforms over eight months using Pulsar. It found that only 4.8% of author biographies indicated any sociopolitical focus, and that discourse predominantly relied on generic slogans and trending buzzwords, primarily reinforcing existing fashion hierarchies and consumerist frameworks rather than challenging them. Digital fashion is also the interplay between digital technology and couture. Human AI is an intersection of technology and human representation, in which human value is emphasized and enhanced by technology and the possibilities of discovering design. Information and communication technologies (ICTs) have been deeply integrated both into the fashion industry, as well as within the experience of clients and prospects. Such interplay has happened at three main levels. ICTs are used to design and produce fashion products, while the industry organization also leverages digital technologies. ICTs impact marketing, distribution and sales. ICTs are extensively used in communication activities with all relevant stakeholders and contribute to co-create the fashion world. The fashion industry in general has paved the way for digital fashion to be introduced with more technology being in the industry, like virtual dressing rooms and the gamification of the fashion industry. Digital fashion is also seen on many different online fashion retail websites. This evolution in the fashion industry has called for more education and research of digital fashion. == Design, production, and organization == Among the many applications available to fashion designers to model the fusion of creativity with digital avenues, the Digital Textile Printing can be mentioned here. === Digital textile printing === Digital textile printing has brought together the worlds of fashion, technology, art, chemistry, and printing to produce a new process for printing textiles on clothing. Digital printing is a process in which prints are directly applied to fabrics with a printer, reducing 95% of the use of water, 75% of the use of energy and minimizing textile waste. The main advantage of digital printing is the ability to do very small runs of each design (even less than 1 yard). Digital Textile printing also offers other benefits, such as fast printing speeds that help the time and space needed to print different patterns on garments of choice. == Marketing, distribution, and sales == While all digital channels can be used in order to market and sell fashion completely online (eCommerce), they usually are implemented in connection with offline channels (so-called "omni-channel"). Here, virtual and augmented reality play a crucial role. The fashion industry has faced its own problems including pollution and fabric waste, which has resulted in a shift to more sustainable methods like digital fashion. The industry is also constantly being intertwined with digital media and has allowed for the use of digital tools within the business itself and with consumers. Two of the ways digital fashion is utilized with consumers is through virtual dressing rooms and virtual cosmetic counters. Prospects and clients can use ICTs - own computers, tablets and smartphones - to virtually simulate fitting rooms and cosmetics counters and see how they look in specific outfits and makeup. Customers can give any look and decide on what suits them and buy products. Oftentimes, beauty retailers will feature virtual fitting rooms to allow users to experience the look of their product before committing to a purchase. Some examples are color contact retailers Freshlook, which allows users to simulate contact lens wear in their color contacts studio before purchase. Colorful Eyes also offers a virtual color contact lens try-on room. === Virtual dressing room === A virtual dressing room (also often referred to as virtual fitting room and virtual changing room although they do perform different functions) is the online equivalent of the near-ubiquitous in-store changing room – that is, it enables shoppers to try on clothes to check one or more of size, fit or style, but virtually rather than physically. Fashion retailer Topshop installed a Kinect-powered virtual fitting room at its Moscow store. Created by AR Door, the Augmented Fitting Room system overlays 3D augmented reality clothes on the customer. Simple gestures and on-screen buttons let users "try on" different outfits. However, the high variability of virtual fit platforms to predict consumer clothes sizes called into question the accuracy of these systems in their current form. AI-powered Wardrobe and Outfit Planning Beyond virtual fitting rooms, the integration of artificial intelligence has enabled the rise of digital wardrobe management. These platforms use computer vision and machine learning to catalog a user’s physical or digital garments, providing automated outfit recommendations based on weather, occasion, and personal style trends. Fashion-tech startups utilize AI-driven garment simulation to help users plan outfits virtually, bridging the gap between digital-only fashion and physical wardrobe utility. This "smart closet" approach aims to reduce "wardrobe fatigue" and decrease unnecessary consumption by maximizing the use of existing items through digital visualization. === Communication and experience co-creation === Fashion is also a matter of socially negotiating what is "in" or "out", fashionable or not. In other words, fashion items do not only play on the economic market of physical goods but also - and sometimes even more importantly - on the semiotic market of the production of social tastes and customs. Thanks to social media, and to all services offered by the so-called web2.0, laypeople can contribute to co-create the fashion world, shaping tastes, customs, and fashion-related values. Social media, in general, has catapulted the impact fashion has on our everyday lives and values. Fashion has taken a central role in mass production and is constantly evolving due to the ever-lasting digital transformation. Social media has also helped evolve to a point where not only can brands reach consumers, but consumers can reach brands as well. TikTok for example started a trend in 2020 with #GucciModelChallenge. This creates a space where the brand is gaining awareness from their consumers in the ever-changing digital age. === Gamification === Gaming has played an important role in fostering digital aspects of the fashion world, first beginning with dress-up games that used avatars and allowed players to select garments. Nevertheless, it seems it will now move on to the real world and start using avatars of real people. Garments from luxurious brands have been copied and adapted into the aesthetics of games such as Animal Crossing: New Horizons and The Sims. As to the former, during COVID-19 lock-downs players recreated outfits from a variety of fashion brands, including Chanel, Gucci and Versace. It became a platform for users to showcase their costume designs. In April 2019, Moschino collaborated with simulation game The Sims in a capsule collection that featured signature Jeremy Scott garments. The collection was made available to shop and the campaign was set against the backdrop of a Sims-like atmosphere. Furthermore, in May 2019, Nike partnered up with Fortnite to include their iconic Jordan sneakers. In similar fashion, in May 2020, Marc Jacobs designed 6 of the brand's favorite looks for Nintendo's Animal Crossing: New Horizons in a partnership with Instagram user @AnimalCrossingFashionArchive. They were made available to download. Similarly, the other luxury brands mentioned, Louis Vuitton partnered with game League of Legends to create skins for characters within the game. Digital fashion in different video games allows users to express themselves beyond their avatars and combine the self-expression of fashion into the digital gaming realm. == Digital fashion education and research == Nowadays, the fashion industry needs experts in digital fashion, equipped with the above-ske

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  • The Quantum Thief

    The Quantum Thief

    The Quantum Thief is the debut science fiction novel by Finnish writer Hannu Rajaniemi and the first novel in a trilogy featuring the character of Jean le Flambeur; the sequels are The Fractal Prince (2012) and The Causal Angel (2014). The novel was published in Britain by Gollancz in 2010, and by Tor in 2011 in the US. It is a heist story, set in a futuristic Solar System, that features a protagonist modeled on Arsène Lupin, the gentleman thief of Maurice Leblanc. The novel was nominated for the 2011 Locus Award for Best First Novel, and was second runner-up for the 2011 Campbell Memorial Award. == Setting == Several centuries after the technological singularity largely destroyed Earth, various posthuman factions compete for dominance in the Solar System. Though sentient superintelligent AGI has never been successfully developed, civilization has been greatly transformed by the proliferation of Hansonian brain emulations (termed "gogols" in reference to Nikolai Gogol, and in particular his novel Dead Souls). An alliance of powerful gogol copies rule the inner system from computronium megastructures housing trillions of virtual minds, laboring to resurrect the dead in religious devotion to the philosophy of Nikolai Fedorov. This alliance, the Sobornost, has been in conflict with a community of quantum entangled minds who adhere to the "no-cloning" principle of quantum information theory, and so do not see the Sobornost's ultimate goal as resurrection, but death. Most of this community, the Zoku, was devastated when Jupiter was destroyed with a weaponized gravitational singularity. Among the last remnants of near-baseline humanity exist on the mobile cities of Mars, where advanced cryptography and an obsessive privacy culture ensure that the Sobornost cannot upload their citizens' minds. The most notable of these cities is the Oubliette, where time is used as a currency. When a citizen's balance reaches zero their mind is transferred to a robotic body to serve the needs of the city for a set period, before being returned to their original body with a restored balance of time. == Plot summary == Countless gogols of the legendary gentleman thief Jean Le Flambeur are trapped in a virtual Sobornost prison in orbit around Neptune, playing an iterated prisoner's dilemma until his mind learns to cooperate. A warrior from the Oort Cloud, which has been settled by Finnish colonists, successfully retrieves one of the Le Flambeur gogols and uploads it into a real-space body. Acting on behalf of a competing Sobornost authority, this Oortian, Mieli, ferries the thief to the Martian city known as The Oubliette, where he has stored his memories for later recovery. The two intend to recover his memories so that he may return to an operating capacity sufficient to serve his Sobornost benefactor in a theft and repay his liberation. On the Oubliette, the young detective Isidore Beautrelet helps vigilantes catch Sobornost agents illicitly uploading human minds. These vigilantes are revealed to be in the service of a local colony of Zoku. Beautrelet is employed to investigate the arrival of Le Flambeur, and in the process becomes aware that the Oubliette's cryptographic security was always compromised. The memories of its citizens are fabrications, and the "King of Mars" long believed ousted in a revolution, still reigns behind the scenes. This King, who is another copy of Jean Le Flambeur, is defeated in the ensuing conflict. Le Flambeur fails to recover all of his memories, which he had locked with a quantum entangled revolver that required him to kill several of his old friends to open his stored memory. He and Mieli escape a liberated Mars having recovered only a mysterious "Schrödinger’s Box" from the Memory Palace. == Themes == Themes central to The Quantum Thief are the unreliability and malleability of memory and the effects of extreme longevity on an individual's perspective and personality. Prisons, surveillance and control in society are also major themes. In the book, the people living in the Oubliette society on Mars have two types of memory; in addition to a traditional, personal memory, there is the exomemory, which can be accessed by other people, from anywhere in the city. Memories about personal experiences can be stored in the exomemory and partitioned, with different levels of access granted to different people. These memories can be used, among other things, as an expedient form of communication. The Oubliette society has an economy where time is used as currency. When an individual's time is expended, their consciousness is uploaded into a "Quiet". The Quiet are mute machine servants who maintain and protect the city. Although the quiet seem to have little interest in the world outside their occupations, they do seem to retain some traces of their former personalities and memories. The conspiracy central to the plot involves the hidden rulers, called the "cryptarchs", manipulating and abusing the exomemory and through the citizens' transformations to quiet and back, the traditional memory as well. In the book, the Oubliette society is compared to a panopticon; a prison, where every action of the dwellers can be scrutinized. == History and influences == The first chapter of The Quantum Thief was presented by Rajaniemi's literary agent, John Jarrold, to Gollancz as the basis for the three-book deal that was eventually secured. Rajaniemi has stated that he had "come up with an outline that had every single idea I could cram into it, because I wanted to be worthy of what had happened." The outline eventually expanded into three parts, and the first part became The Quantum Thief. The novel's plot was inspired by one of Rajaniemi's favorite characters in fiction, Maurice Leblanc's gentleman thief Arsène Lupin, who operates on both sides of the law. What intrigued Rajaniemi were the cycles of redemption and relapse Lupin goes through as he tries to go straight, always falling short. Besides LeBlanc, Rajaniemi mentioned Roger Zelazny as a strong influence. Ian McDonald was the other science fiction author he mentioned as influential, plus Frances A.Yates's book The Art of Memory, for memory palaces. In an interview, Rajaniemi said he wasn't trying to write the novel as hard science fiction: "For me, the more important consequence of having a scientific background is a degree of speculative rigour: trying hard to work out the consequences of the assumptions one begins with." == Reception == The novel has received generally positive reviews. Gary K. Wolfe writes in his Locus review that Rajaniemi has "spectacularly delivered on the promise that this is likely the most important debut SF novel we'll see this year". James Lovegrove, reviewing the book in his Financial Times column, notes that "many an anglophone author would kill to turn out prose half as good as this, especially on their maiden effort." Eric Brown, reviewing for The Guardian, finds the novel to be "a brilliant debut", while alluding to the "apocryphal" (and incorrect) myth that "this novel sold on the strength of its first line." Sam Bandah, at SciFiNow, praises the novel for "its engaging narrative and characters backed by often almost intimidatingly good sci-fi concepts." Criticism for the novel has generally centred on Rajaniemi's sparse "show, don't tell" writing style. Brown notes that "the author makes no concessions to the lazy reader with info-dumps or convenient explanations." Niall Alexander, of the Speculative Scotsman, states that "had there been some sort of index, [he] would have gladly (and repeatedly) referred to it during the mind-boggling first third of The Quantum Thief", while proclaiming the novel to be "the sci-fi debut of 2010." == Awards == Nominee for the 2011 Locus Award for Best First Novel. Third place for the 2011 John W. Campbell Memorial Award for Best Science Fiction Novel

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