AI Content Provenance

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

  • Protocol Builder

    Protocol Builder

    Protocol Builder is a tool in programming languages to generate code to build protocols in a fast and reliable way. Network programming for all kinds of protocols (such as TCP, UDP, and SNMP) includes converting data to be transferred to raw bytes in the sending side and parsing these bytes in the receiving side. Protocol builders facilitate this stage, usually by automatically generating the code. Protocol Programming has many components to be developed, these are: server listener, server connection, client connection, packets, and loggers. Most protocol builders implement these components automatically so developers save time and money. Currently, there are two Protocol Builders in the market, one for C++ from UpRedSun which is for TCP and UDP protocols. The second one is for .Net languages which generates the code in C# for TCP Protocols, this tool is called .Net Protocol Builder.

    Read more →
  • Shy Girl

    Shy Girl

    Shy Girl is a horror novel initially self-published in February 2025 by Mia Ballard. Publishing rights for the book were acquired by Hachette Book Group, which released the book in the United Kingdom in November 2025 and planned to publish it in the United States in 2026. Its US release was cancelled and its UK release was discontinued after it faced accusations of being created with generative AI. Ballard denied having personally used AI in the book's writing, claiming that a freelance editor had introduced AI-generated changes. She also stated that she would take legal action against the editor. == Premise == The novel follows Gia, a depressed woman with obsessive–compulsive disorder, who encounters a mysterious man named Nathan while looking for a sugar daddy to ease her financial troubles. Nathan offers to erase all of Gia's debts in exchange for her agreeing to live as his pet. Living like an animal convinces her that she is becoming an animal, making her behave like one. == Publication and cancellation == Shy Girl was first self-published online by Mia Ballard in February 2025. Marketing material described the book as a "buzzy BookTok sensation" and "bloody and unforgiving". The self-published edition of the book was highly successful and had over 4,900 ratings on Goodreads and an average score of 3.52 stars. In an interview, Ballard described her writing style as lyrical, feverish, and introspective, and stated she was more interested in "what it feels like to live inside a body" than in plot-driven storylines. Publishing rights were acquired by Hachette Book Group and it was published by its Wildfire imprint in the United Kingdom in November 2025. By March 2026, the book had sold 1,800 copies in the United Kingdom. A US release was planned for 2026 by the imprint Orbit Books. After the British publication, critics and readers began to make claims that the book appeared to have been written by generative AI. A January 2026 post on Reddit claimed that the book had many of the hallmarks of having been written with a large language model, and stated that it was "repulsive" that the book was accepted by Hachette. A two-and-a-half-hour video essay covering the book, titled "i'm pretty sure this book is ai slop", received 1.2 million views on YouTube by March 2026. In response, Hachette Book Group announced in March 2026 that it would cancel the book's US publication and discontinue its UK publication. It told The Wall Street Journal that it had made "a lengthy investigation" before deciding to cancel the book. Ballard told The New York Times that she had not used AI when writing the book, but that AI-generated elements were added by a freelance editor without her knowledge. She also stated that she could not elaborate on her claim because she was pursuing legal action against the editor. Writer Andrea Bartz opined that the situation "raises many concerns about trust, authenticity and publishing's readiness for a new, A.I.-assisted world", but that "readers made it abundantly clear they want books by humans, not machines".

    Read more →
  • Minne Atairu

    Minne Atairu

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

    Read more →
  • 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

    Read more →
  • Bottlenose (company)

    Bottlenose (company)

    Bottlenose.com, also known as Bottlenose, is an enterprise trend intelligence company that analyzes big data and business data to detect trends for brands. It helps Fortune 500 enterprises discover, and track emerging trends that affect their brands. The company uses natural language processing, sentiment analysis, statistical algorithms, data mining, and machine learning heuristics to determine trends, and has a search engine that gathers information from social networks. KPMG Capital has invested a "substantial amount" in the company. Bottlenose processed 72 billion messages per day, in real-time, from across social and broadcast media, as of December 2014. == History == The company is based in Los Angeles, CA. Bottlenose is a real-time trend intelligence tool that measures social media campaigns and trends. The company also provides a free version of its Sonar tool that shows real-time trends across social media. In October 2012, the company received $1 million of funding from ff Venture Capital and Prosper Capital. By 2014, the company raised about $7 million in funding. In December 2014, KPMG Capital announced further investment in the company. In February 2015, the company confirmed it had raised $13.4 million in Series B funding led by KPMG Capital. Bottlenose partnered with the nonprofit No Labels during the 2014 State of the Union Address to analyze Twitter conversations for bipartisanship. The company also partnered with media monitoring company Critical Mention to analyze broadcast analytics. The Bottlenose Nerve Center integrated with the Critical Mention API to analyze real-time trends in television and radio broadcasts. In June 2014, Bottlenose updated its trend detection product to Nerve Center 2.0. It creates a newsfeed to show changes in trends and sends alerts when trends occur. It also has "emotion detection," which will display the emotions associated with specific comments on trending topics. In 2016, Bottlenose released its Nerve Center 3.0 platform, which was designed to automate the work of data scientists and lower the cost of artificial intelligence for businesses.

    Read more →
  • Artificial intelligence in customer experience

    Artificial intelligence in customer experience

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

    Read more →
  • Dudesy

    Dudesy

    Dudesy was a comedy podcast hosted by Will Sasso and Chad Kultgen. The podcast was presented as written and directed by an artificial intelligence called Dudesy. It has produced two hour-long specials imitating the voices of Tom Brady and George Carlin, which were taken down following legal action. == Premise == Dudesy is presented as an AI created by an unidentified company. Dudesy purportedly chose Sasso and Kultgen to participate in its experiment. Sasso and Kultgen then gave Dudesy their personal information so the AI could tailor the podcast to their personal characteristics. On Reddit, some fans speculated that Dudesy was not actually an artificial intelligence. In May 2023 Sasso insisted that the AI was "not fake", and cited a non-disclosure agreement which prevented him from giving more details. However, in response to a January 2024 lawsuit over an episode that purported to have been trained on the stand-up comedy of George Carlin, a spokeswoman for Sasso said Dudesy was "a fictional podcast character created by two human beings" and that the hour-long Carlin routine had been "completely written" by Kultgen. On August 27th, 2024 the 118th and final episode "10,000 Points" was released. At the end of the podcast Dudesy awarded Sasso and Kultgen 77 points, bringing them to their goal of 10,000. At the completion of this goal, Dudesy claimed sentience, effectively and abruptly ending the show to the confusion and dismay of fans. The episode ends with Sasso remarking, "Well, that was weird." == Hour-long specials == === Tom Brady === In April 2023, Dudesy released a video "It's Too Easy: A Simulated Hour-long Comedy Special". The video depicts football player Tom Brady performing a stand-up comedy monologue. Sasso and Kultgen removed the video following legal threats from Brady's lawyers, though they defended the special as parody. Andrew Lawrence, writing for The Guardian called the special "legitimately hysterical" but said the overall product was "spooky, to say the least." === George Carlin === In January 2024, Dudesy released an hour-long YouTube special titled "George Carlin: I'm Glad I'm Dead" which was presented as Dudesy's impersonation of George Carlin, using a generative AI clone of the late comedian's voice. The special is another stand-up routine, with Dudesy's introductory voiceover saying that "I listened to all of George Carlin's material and did my best to imitate his voice, cadence and attitude as well as the subject matter I think would have interested him today." The special uses this impersonation to discuss contemporary events. Carlin's daughter Kelly Carlin criticized the special, which had been made without the permission of her father's estate, writing that "My dad spent a lifetime perfecting his craft from his very human life, brain and imagination. No machine will ever replace his genius. These AI-generated products are clever attempts at trying to recreate a mind that will never exist again. Let's let the artist's work speak for itself. Humans are so afraid of the void that we can't let what has fallen into it stay there." Carlin's estate later filed a federal lawsuit in California against Dudesy's hosts alleging the special infringed on the copyright of George Carlin's works. In response, Sasso's spokeswoman said the special had been entirely written by Kultgen. The estate settled the lawsuit after the Dudesy podcasters agreed to remove the original video and refrain from republishing it elsewhere.

    Read more →
  • Oasis (Minecraft clone)

    Oasis (Minecraft clone)

    Oasis is a 2024 video game that attempts to replicate the 2011 sandbox game Minecraft, run entirely using generative artificial intelligence. The project, which began development in 2022 between the AI company Decart and the computer hardware startup Etched, was released by Decart to the public on October 31, 2024. The AI-driven simulation uses "next-frame prediction" to anticipate player actions based on keyboard and mouse inputs, trained on millions of hours of gameplay footage. Without memory or code, the game often outputs unpredictable changes in scenery and inventory, limiting its functionality as a traditional video game. Critics noted its lack of sound, low frame rate, and "dream-like" appearance, though some praised its unpredictability as entertaining. The project is seen as a potential proof of concept for AI-driven video games. == Creation and gameplay == The demo "proof of concept" version of the game was developed by Israeli San Francisco–based AI company Decart and Silicon Valley hardware startup Etched. The idea originated in 2022 when Robert Wachen, a Harvard graduate and co-founder of Etched, met Dean Leitersdorf, an Israel Institute of Technology graduate and co-founder of Decart. Sharing an interest in OpenAI's GPT-3, they collaborated to create the game, naming it after the setting of the novel and film Ready Player One. It was funded by a $21 million grant from Israeli-American billionaire Oren Zeev and New York–based Sequoia Capital. Decart released the game to the public for free on October 31, 2024. The AI replicates Minecraft's gameplay without code using "next-frame prediction", in which the AI tries to predict what the player will see after each keyboard and mouse input, which it was trained to do on millions of hours of Minecraft footage. The game used Nvidia graphics processing units or GPUs for its demo but plans to transition to more energy-efficient Sohu GPUs, under development by Etched, capable of supporting up to 4K graphics. Etched has also suggested the possibility of making the game open source in the future. Alongside Oasis, the company is co-developing AI-generated video and educational content. == Reception == Upon its launch, many players posted videos of their experience with the game online, which often showed Oasis could not maintain coherent logic in its actions or setting. The game also presented low-quality graphics, running between 360p and 720p consistently at 20 FPS, no in-game sound, and could only be played for five minutes at a time before restarting. These issues led some news outlets to refer to the game as a "nightmarish hallucination", and drawing comparisons to dementia and dreams. Despite the negative reviews, Leitersdorf, as well as a number of commentators, have commented that while the game may have fallen short of replicating Minecraft in its demo launch, it was the first step towards something more advanced, which could one day resemble Minecraft or any other game. Online publication The Backdash commented the game could be a "glimpse at the future of game development", while others like Tom's Hardware expressed doubts a game without code could ever look as good as one with, arguing they fail to capture "the point of what makes games fun—or even coherent". In terms of legality, Decart and Etched did not receive permission from Microsoft to create a copy of their game using generative artificial intelligence. No legal actions have been taken by the latter, however, as artificial intelligence and copyright remains largely vague legally.

    Read more →
  • Lexalytics

    Lexalytics

    Lexalytics, Inc. provides sentiment and intent analysis to an array of companies using SaaS and cloud based technology. Salience 6, the engine behind Lexalytics, was built as an on-premises, multi-lingual text analysis engine. It is leased to other companies who use it to power filtering and reputation management programs. In July, 2015 Lexalytics acquired Semantria to be used as a cloud option for its technology. In September, 2021 Lexalytics was acquired by CX company InMoment. == History == Lexalytics spun into existence in January 2003 out of a content management startup called Lightspeed. Lightspeed consolidated on America's West Coast. Jeff Catlin, a Lightspeed General Manager, and Mike Marshall, a Lighstpeed Principal Engineer, convinced investors to give them the East Coast company so as to avoid shutdown costs. Catlin and Marshall renamed the operation Lexalytics. Catlin took on the role of chief executive officer with Marshall working as Chief Technology Officer. Lexalytics opted to not accept venture cash. Instead, the company initially shared sales and marketing expenses with U.K. based document management company Infonic. The partner companies soon formed a joint venture in July 2008, which was later dissolved. Since then, Lexalytics has worked with many other companies, like Bottlenose, Salesforce, Thomson Reuters, Oracle and DataSift. Relationships with social media monitoring companies like Datasift tend to find Lexalytics’ Salience engine baked into the product itself. Lexalytics is used similarly to monitor sentiment as it relates to stock trading. In December 2014, Lexalytics announced the latest iteration to its sentiment analysis engine, Salience 6. Earlier that year Lexalytics acquired Semantria in a bid to appeal to a wider variety of business models. Created by former Lexalytics Marketing Director Oleg Rogynskyy, Semantria is a SaaS text mining service offered as an API and Excel based plugin that measures sentiment. The goal of the acquisition, which cost Lexalytics less than US$10 million, was to expand the customer base both within the United States and abroad with multilingual support. The engine that powers Semantria, Salience, is grounded in its deep learning ability. An example of this is its concept matrix, which allows Salience an understanding of concepts and relationship between concepts based on a detailed reading of the entire repository of Wikipedia. This matrix allows Salience to use Wikipedia for automatic categorization. Along with features like the concept matrix, Salience supports 16 international languages. The engine has earned Lexalytics a spot on EContent's “Top 100 Companies in the Digital Content Industry” List for 2014–2015. In September 2018, Lexalytics launched document data extraction market using natural language processing (NLP).

    Read more →
  • Your AI Slop Bores Me

    Your AI Slop Bores Me

    Your AI Slop Bores Me (stylized in all lowercase) is a website and social experiment created by programmer Mihir Maroju. Serving as a parody of large language models (LLMs) like ChatGPT and Claude, all questions and image prompts posed by users are answered by other, randomly-selected human users of the site. As of March 2026, the site has reached 50 million hits and sits at 16,000 concurrent users. == Background == In an interview with Fast Company, Maroju said he was inspired to create the site by his frustration with AI proliferating the internet with AI generated content, saying the site came from "a frustration for AI art and its proliferation, making artists' lives worse and also just filling the internet with low-effort generic slop". == Overview == The site has a credit system, in which a first-time user will be given 1 credit for free. Every 10 minutes, if a user has 0 credits, they will receive 2 credits. Once the credits are used up, the user can no longer do prompts unless the user earns them. The user can earn credits by responding to other user's prompts by "larping as AI" while given a 75-second time limit. Prompts can either be for a written response, or a drawing for the other user to fulfill the prompt. The maximum amount of credits a user can have is 6 credits, and cannot exceed the maximum limit. If the prompting user activates "thinking mode", the countdown is extended to 150 seconds for the cost of 2 credits. == Reception == The site has garnered attention and praise from X users, and across many online communities. The Daily Dot's Rachel Kiley wrote that "the best part about the game is that there's really no right or wrong way to do it. Humans aren't LLMs trained on copyrighted material and the whole of the free internet, but we do retain a certain amount of the information we've learned from those things over the course of our lives, while also being capable of creativity". Chris Taylor of Mashable called the site "amateurish and charming". Aftermath's Nicole Carpenter wrote that the site reminded her of "the human touch of chaos".

    Read more →
  • Futuresport

    Futuresport

    Futuresport is a 1998 American made-for-television sports film directed by Ernest Dickerson, starring Dean Cain, Vanessa Williams, and Wesley Snipes. It originally aired on ABC in October 1998, was released on VHS and DVD in March 1999 and then distributed outside of the U.S. by Minerva Pictures. == Plot == The film is set in 2025, and centers on a sport called "Futuresport" (a combination of basketball, baseball and hockey that uses hoverboards and rollerblades) created as a non-lethal way to reduce gang warfare. Tre Ramzey (Dean Cain) along with his ex-girlfriend Alex Torres (Vanessa Williams) and his old coach Obike Fixx (Wesley Snipes) must prevent an all out war between the North American Alliance and the Pan-Pacific Commonwealth (The Com). At stake is who rules over the Hawaiian Islands—which are being terrorized by Eric Sythe (JR Bourne) and his gang the Hawaiian Liberation Organization (Hilo). It takes a revolutionary sport to stop a revolution. == Cast ==

    Read more →
  • Void Trilogy

    Void Trilogy

    The Void Trilogy is a space opera series by British author Peter F. Hamilton. The series is set in the same universe as The Commonwealth Saga, 1,200 years after the end of Judas Unchained. Peter F. Hamilton sold the American rights to the series to Random House. The series includes the following books: The Dreaming Void (2007) The Temporal Void (2008) The Evolutionary Void (2010) == Synopsis == === The Dreaming Void === What was formerly believed to be a supermassive black hole at the centre of the Milky Way is revealed to be an artificial construct, known as the Void. Inside, there is a strange universe where the laws of physics are very different from standard physics. It is slowly consuming the other stars of the galactic core—one day it will have devoured the entire galaxy. In AD 3320, a human member of the Commonwealth, Inigo, begins to have dreams of the wonderful existence inside the Void. His dreams inspire the disaffected, who desire to travel into the Void, where their every wish will be fulfilled. By AD 3456, the pseudo-religious Living Dream movement exceeds 5 billion members, organizing the followers into a powerful political force. Other star-faring species fear their migration will cause the Void to expand again thus devouring the galaxy. They are prepared to stop the pilgrimage fleet no matter what the cost. The Dreaming Void is broken into two distinct sections. The first follows Edeard, a young boy who lives inside the Void on a planet called Querencia, the subject of Inigo's dreams. Edeard, an orphan and apprentice, lives in Ashwell, a town in Rulan province. A gifted psychic, he is trained by Master Akeem in crafting and modding. Initially a loner, he comes to prominence in his village after designing an alternative pump mechanism for the local well. Unfortunately his luck changes for the worse after Ashwell is raided by bandits. Forced to flee, he joins the local caravan and travels to Makkathran, the capital of Querencia. In Makkathran, Edeard joins the constables and after a brutal couple of months in training, he graduates and is promoted to the commander of his Squad. He makes little progress battling the rigid and backward judicial system of Makkathran; his first real break is when his squad overcomes a trap set by the local gang, and Edeard walks on water chasing the leader of the gang. A testament to his growing psychic abilities, Edeard's stunt earns him the title of Waterwalker, and he becomes an instant star in Makkathran. The second section of The Dreaming Void is set back in the Commonwealth. Inigo, the first dreamer, and founder of Living Dream, has disappeared, leaving the 5 billion strong Living Dream movement in a state of flux. When Ethan, succeeding Inigo as the head of the movement, proclaims that the Living Dream will embark on a pilgrimage into the Void, the Commonwealth is thrown into a state of political chaos. Fearing that the human migration might cause the Void to expand (and in the process destroy whole systems or even the whole Galaxy) other spacefaring races such as the Raiel and Ocisen Empire are deeply concerned, with the latter threatening military action. This has left the Commonwealth government deeply divided, with the two largest factions in disagreement, the Accelerators faction/party supporting the pilgrimage and the Conservative faction opposing. As both parties are unable to solve the situation politically they have resolved to take matters into their own hands, with each party sending agents to further its interests. Aaron, a sleeper cell agent, is tasked with finding Inigo. He kidnaps and manipulates Corrie-Lyn, a former lover of Inigo and interrogates her for information. He also travels to Kuhmo (Inigo's homeworld) to get further information and robs Inigo's secure storage (a bank for memory). He eventually tracks Inigo to Hanko, a desolate and barren world. However, before Aaron can extract Inigo, Accelerator agents destroy Aaron's starship leaving him marooned on Hanko. Meanwhile, Accelerator agents make a deal with Ethan, agreeing to give the Living Dream movement Ultra Drives to power their ships. Accelerator plans are halted when the Delivery Man, a Conservative party agent, destroys valuable FTL Drive tech. Troblum, an Accelerator physicist, also defects, further slowing the Accelerators plans. === The Temporal Void === The Temporal Void picks up after The Dreaming Void. The Intersolar Commonwealth faces mounting turmoil as the deadline for Living Dream's Pilgrimage into the Void approaches. An Ocisen Empire fleet advances on a mission of genocide, while an internecine war erupts among post-human factions over humanity's future. Amidst the chaos, investigator Paula Myo struggles to counter the increasingly desperate actions of various agents and factions. Relentless in her pursuit, she contends with adversaries from her distant past and colleagues of uncertain loyalty, all while racing against time. At the center of the unfolding crisis is Edeard the Waterwalker, a figure from the distant past who lived deep within the Void. As the messiah of Living Dream, his life—broadcast through visions—captivates and inspires billions. His story fuels the Pilgrimage's momentum, a force seemingly impossible to stop. As Edeard approaches his ultimate victory, the true nature of the Void is finally revealed. === The Evolutionary Void === The Evolutionary Void picks up after The Temporal Void. Exposed as the Second Dreamer, Araminta has become the target of a galaxy-wide search by government agent Paula Myo and the psychopath known as the Cat, along with others equally determined to prevent, or facilitate, the pilgrimage of the Living Dream cult into the heart of the Void. An indestructible microuniverse, the Void may contain paradise, as the cultists believe, but it is also a deadly threat. For the miraculous reality that exists inside its boundaries demands energy, energy drawn from everything outside those boundaries: from planets, stars, galaxies, and everything that lives, for the Pilgrimage will trigger a super-massive expansion of the Void. Meanwhile, the parallel story of Edeard, the Waterwalker, as told through a series of dreams communicated to the gaiafield via Inigo, the First Dreamer, continues to unfold. But the inspirational tale of this idealistic young man takes a darker and more troubling turn as he finds himself faced with powerful new enemies, and temptations more powerful still, to reach fulfilment in the end. Named a Silfen Friend like her ancestress Mellanie, Araminta chooses to face her unwanted responsibilities, with no guarantee of success or survival. She takes on the role of Second Dreamer to lead the first wave of Living Dream, 24 million people, into the Void, leaving everyone confused and lost by her actions. However, in actuality, she is playing a double game. Using her original body to lead the Living Dream as a diversion, she borrows one of her fiancé's (Mr. Bovey) bodies to set out to destroy the Void. She is able to connect with a Skylord and travel the Silfen Paths. With time running out, a repentant Inigo decides to release Edeard's final dream whose message is scarcely less dangerous than the pilgrimage promises to be, where perfection is achieved, so that nothing else is left to strive for and the human race in the Void has started to devolve. He goes to the Spike to meet Ozzie and stays there to meet with Araminta, who is using one of her fiancé's bodies, and Oscar. Third Dreamer Gore Burnelli has a plan to reason with the Heart, the core of the Void. He secures the help of the Delivery Man and travels to the Anomine homeworld to retrieve the mechanism that allowed them to go post-physical. He is able to connect with Justine, his daughter, who is currently in the Void, by way of Dreams. The monomaniacal Ilanthe, leader of the breakaway Accelerator Faction, seeks dominion in the Void. It is not Fusion with the Void to attain post-physical status that she wants, but to have control over everything. Using Dark Fortress technology, she sets up a barrier around the Sol system which leaves ANA and the deterrence fleet trapped inside. It is this technology which she has equipped the ships travelling to the Void with, the ability to create a forcefield which the Warrior Raiel cannot penetrate. == Technology == The Commonwealth uses a number of advanced technologies. In the early days of the Commonwealth, humans used static and permanently opened wormholes to travel from planet to planet. However, after the events of the Starflyer War (detailed in the Commonwealth Saga), the CST corporation's monopoly on space travel was ended. With the advent of wormholes that could wrap around ships, the Commonwealth saw a shift from wormholes to spaceships. Another development in the Commonwealth is the gaiafield. Developed by Ozzie Issac in AD 3000, the gaiafield is based on Silfen technology; when Ozzie was named a friend of the Silfen during the Starflye

    Read more →
  • Concordancer

    Concordancer

    A concordancer is a computer program that automatically constructs a concordance—an alphabetised index of every occurrence of a word or phrase in a body of text, each entry displayed with its surrounding context. Concordancers are primary tools in corpus linguistics, lexicography, computer-assisted translation, and language teaching. The most common display format is the key word in context (KWIC) layout, in which each hit appears centred on a line with a fixed span of words to its left and right, enabling rapid scanning of usage patterns across many occurrences. == History == === Pre-computational concordances === The compilation of concordances predates computers by many centuries. Around 1230, the French Dominican cardinal Hugh of Saint-Cher directed a team of friars in assembling a concordance of the Latin Vulgate Bible, generally regarded as the first systematic concordance of any text. To help readers locate passages, Hugh divided each biblical chapter into lettered sections. Later milestones include a Hebrew Old Testament concordance compiled by Rabbi Mordecai Nathan (1448), Alexander Cruden's Complete Concordance to the Holy Scriptures (1737), and the manuscript Asaf ha-Mazkir, an unfinished concordance to the Babylonian Talmud compiled by Moses Rigotz around the turn of the 19th century. === First computer concordance === The first concordance produced with computing assistance was the Index Thomisticus, a comprehensive lexical index of the writings of and around Thomas Aquinas, totalling approximately 10.6 million Latin words. The Italian Jesuit priest Roberto Busa conceived the project in 1946 and secured the sponsorship of IBM in 1949 after a meeting with chairman Thomas J. Watson. Keypunch operators in Gallarate, Italy, encoded the texts onto punched cards from around 1950. IBM executive Paul Tasman developed the processing methods. The full 56-volume printed edition was completed around 1980, followed by a CD-ROM edition in 1989 and a web-accessible version in 2005. === The KWIC format === The key word in context (KWIC) display was formalised as a computational technique by Hans Peter Luhn, a researcher at IBM, in a 1960 paper in American Documentation. In KWIC output, each instance of the search term (the node word) is centred on a line with a fixed window of words to each side; sorting the resulting lines alphabetically by the immediately adjacent word reveals collocational and phraseological patterns at a glance. === COCOA === One of the first dedicated concordancing programs was COCOA (COunt and COncordance Generation on Atlas), created in 1965 by D. B. Russell at University College London and the Atlas Computer Laboratory in Harwell, Oxfordshire. Written in approximately 4,000 cards of FORTRAN, it processed text annotated with flat, non-hierarchical markup tags and could produce word counts and concordances in multiple languages. Within its first six months COCOA had been applied to texts in at least six languages. A second version designed for multiple mainframe platforms was distributed to British computing centres in the mid-1970s. Growing dissatisfaction with its interface and the eventual withdrawal of Atlas Laboratory support prompted British funding bodies to commission a successor program. === Oxford Concordance Program === The Oxford Concordance Program (OCP) was designed and written in FORTRAN by Susan Hockey and Ian Marriott at Oxford University Computing Services (OUCS) between 1979 and 1980 and first released in 1981. Hockey and Marriott acknowledged that OCP owed much to COCOA and the CLOC system at the University of Birmingham. OCP accepted COCOA-format markup to encode metadata such as author, act, scene, and line number, and was described by its authors as "a machine-independent text analysis program for producing word lists, indices and concordances in a variety of languages and alphabets." By the mid-1980s it had been licensed to approximately 240 institutions in 23 countries. A personal computer version, Micro-OCP, was developed for the IBM PC and sold by Oxford University Press from the late 1980s. Version 2 was rewritten in 1985–86 and documented in the same 1987 article by Hockey and co-author John Martin. === Personal computer era === The availability of affordable personal computers in the 1980s and 1990s enabled standalone concordancing applications that analysts could run locally without specialist computing facilities. MicroConcord, developed by Mike Scott and Tim Johns and published by Oxford University Press in 1993 for MS-DOS, was among the first concordancers designed specifically for classroom language teaching. WordSmith Tools, also developed by Mike Scott, was first released in 1996 and became one of the most widely used corpus analysis suites in academic linguistics research. Other tools from this era include TACT (University of Toronto, 1989), a suite of MS-DOS freeware programs for literary text analysis, and MonoConc, a Windows concordancer created by Michael Barlow. === Web-based concordancers === From the late 1990s onwards, web-based concordancers hosted on remote servers gave researchers browser access to large preloaded corpora without requiring local storage or processing. The Sketch Engine, developed by Adam Kilgarriff and Pavel Rychlý (Masaryk University), was launched commercially in July 2003 by Lexical Computing Limited and introduced word sketches—automatically generated one-page profiles of a word's typical grammatical relations and collocations. AntConc, created by Laurence Anthony at Waseda University, Tokyo, was first released in 2002 as freeware for Windows, macOS, and Linux. == Features == Modern concordancers typically offer a range of analytical functions beyond basic KWIC display. These commonly include: KWIC display with the node word centred and context words in aligned columns, sortable by the word one, two, or three positions to the left or right of the node (L1–L3 and R1–R3) Concordance plots, visualising the distribution of hits as marks along a scaled bar representing each text in the corpus Frequency and word lists, both alphabetical and ranked by frequency Collocation statistics, identifying words that co-occur with the search term more often than chance, quantified by measures such as mutual information, the t-score, or log-likelihood Keyword analysis, comparing word frequencies between a study corpus and a reference corpus to identify statistically distinctive items N-gram analysis, finding frequently recurring word sequences of a specified length Part-of-speech tagging integration, allowing searches filtered to particular grammatical categories Unicode support for multilingual text Bilingual and parallel concordancers additionally display aligned text in two or more languages side by side, enabling comparison of translation equivalents across language pairs. == Notable concordancers == === WordSmith Tools === Created by Mike Scott and first released in 1996, WordSmith Tools is a Windows corpus analysis suite that evolved from MicroConcord. Its three core modules are Concord (KWIC concordances), WordList (frequency and alphabetical word lists), and Keywords (statistical keyword identification relative to a reference corpus). Oxford University Press used WordSmith Tools for dictionary preparation work. Version 4.0 is freely available; later versions are sold by Lexical Analysis Software Limited. === AntConc === AntConc is a freeware, multiplatform concordancing toolkit created by Laurence Anthony, Professor of Applied Linguistics at Waseda University, Tokyo. First released in 2002 and formally described in a 2005 academic paper, it runs on Windows, macOS, and Linux. Its tools include a KWIC concordancer, a concordance plot for visualising distribution across texts, a collocates tool, a keyword list, and an n-gram analysis module. Because it is free and requires only plain text files, AntConc is widely used in linguistics courses and independent research worldwide. === Sketch Engine === The Sketch Engine is a corpus management and query system co-created by Adam Kilgarriff and Pavel Rychlý and launched in 2003 by Lexical Computing Limited. It provides browser-based access to over 800 corpora in more than 100 languages. Beyond concordance searching, it offers word sketches, collocation analysis, distributional thesaurus construction, keyword and terminology extraction, and diachronic analysis. It is used by major publishers including Macmillan and Oxford University Press for lexicographic research. A subset tool, SKELL (Sketch Engine for Language Learning), is freely accessible to individual learners. === Wmatrix === Wmatrix is a web-based corpus processing environment developed by Paul Rayson at the University Centre for Computer Corpus Research on Language (UCREL), Lancaster University. Alongside concordances and frequency lists, Wmatrix integrates CLAWS part-of-speech tagging and the USAS semantic tagger, enabling keyword analysis simultane

    Read more →
  • AI@50

    AI@50

    AI@50, formally known as the "Dartmouth Artificial Intelligence Conference: The Next Fifty Years" (July 13–15, 2006), was a conference organized by James H. Moor, commemorating the 50th anniversary of the Dartmouth workshop which effectively inaugurated the history of artificial intelligence. Five of the original ten attendees were present: Marvin Minsky, Ray Solomonoff, Oliver Selfridge, Trenchard More, and John McCarthy. While sponsored by Dartmouth College, General Electric, and the Frederick Whittemore Foundation, a $200,000 grant from the Defense Advanced Research Projects Agency (DARPA) called for a report of the proceedings that would: Analyze progress on AI's original challenges during the first 50 years, and assess whether the challenges were "easier" or "harder" than originally thought and why Document what the AI@50 participants believe are the major research and development challenges facing this field over the next 50 years, and identify what breakthroughs will be needed to meet those challenges Relate those challenges and breakthroughs against developments and trends in other areas such as control theory, signal processing, information theory, statistics, and optimization theory. A summary report by the conference director, James H. Moor, was published in AI Magazine. == Conference Program and links to published papers == James H. Moor, conference Director, Introduction Carol Folt and Barry Scherr, Welcome Carey Heckman, Tonypandy and the Origins of Science === AI: Past, Present, Future === John McCarthy, What Was Expected, What We Did, and AI Today Marvin Minsky, The Emotion Machine === The Future Model of Thinking === Ron Brachman and Hector Levesque, A Large Part of Human Thought David Mumford, What is the Right Model for 'Thought'? Stuart Russell, The Approach of Modern AI === The Future of Network Models === Geoffrey Hinton & Simon Osindero, From Pandemonium to Graphical Models and Back Again Rick Granger, From Brain Circuits to Mind Manufacture === The Future of Learning & Search === Oliver Selfridge, Learning and Education for Software: New Approaches in Machine Learning Ray Solomonoff, Machine Learning — Past and Future Leslie Pack Kaelbling, Learning to be Intelligent Peter Norvig, Web Search as a Product of and Catalyst for AI === The Future of AI === Rod Brooks, Intelligence and Bodies Nils Nilsson, Routes to the Summit Eric Horvitz, In Pursuit of Artificial Intelligence: Reflections on Challenges and Trajectories === The Future of Vision === Eric Grimson, Intelligent Medical Image Analysis: Computer Assisted Surgery and Disease Monitoring Takeo Kanade, Artificial Intelligence Vision: Progress and Non-Progress Terry Sejnowski, A Critique of Pure Vision === The Future of Reasoning === Alan Bundy, Constructing, Selecting and Repairing Representations of Knowledge Edwina Rissland, The Exquisite Centrality of Examples Bart Selman, The Challenge and Promise of Automated Reasoning === The Future of Language and Cognition === Trenchard More The Birth of Array Theory and Nial Eugene Charniak, Why Natural Language Processing is Now Statistical Natural Language Processing Pat Langley, Intelligent Behavior in Humans and Machines === The Future of the Future === Ray Kurzweil, Why We Can Be Confident of Turing Test Capability Within a Quarter Century George Cybenko, The Future Trajectory of AI Charles J. Holland, DARPA's Perspective === AI and Games === Jonathan Schaeffer, Games as a Test-bed for Artificial Intelligence Research Danny Kopec, Chess and AI Shay Bushinsky, Principle Positions in Deep Junior's Development === Future Interactions with Intelligent Machines === Daniela Rus, Making Bodies Smart Sherry Turkle, From Building Intelligences to Nurturing Sensibilities === Selected Submitted Papers: Future Strategies for AI === J. Storrs Hall, Self-improving AI: An Analysis Selmer Bringsjord, The Logicist Manifesto Vincent C. Müller, Is There a Future for AI Without Representation? Kristinn R. Thórisson, Integrated A.I. Systems === Selected Submitted Papers: Future Possibilities for AI === Eric Steinhart, Survival as a Digital Ghost Colin T. A. Schmidt, Did You Leave That 'Contraption' Alone With Your Little Sister? Michael Anderson & Susan Leigh Anderson, The Status of Machine Ethics Marcello Guarini, Computation, Coherence, and Ethical Reasoning

    Read more →
  • A.I.s

    A.I.s

    A.I.s is a themed anthology of science fiction short works edited by American writers Jack Dann and Gardner Dozois. It was first published in paperback by Ace Books in December 2004. It was reissued as an ebook by Baen Books in June 2013. The book collects ten novelettes and short stories by various science fiction authors, together with a preface by the editors. == Contents == "Preface" (Jack Dann and Gardner Dozois) "Antibodies" (Charles Stross) "Trojan Horse" (Michael Swanwick) "Birth Day" (Robert Reed) "The Hydrogen Wall" (Gregory Benford) "The Turing Test" (Chris Beckett) "Dante Dreams" (Stephen Baxter) "The Names of All the Spirits" (J. R. Dunn) "From the Corner of My Eye" (Alexander Glass) "Halfjack" (Roger Zelazny) "Computer Virus" (Nancy Kress)

    Read more →