AI Content Youtube Monetization

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

  • Brownout (software engineering)

    Brownout (software engineering)

    Brownout in software engineering is a technique that involves disabling certain features of an application. == Description == Brownout is used to increase the robustness of an application to computing capacity shortage. If too many users are simultaneously accessing an application hosted online, the underlying computing infrastructure may become overloaded, rendering the application unresponsive. Users are likely to abandon the application and switch to competing alternatives, hence incurring long-term revenue loss. To better deal with such a situation, the application can be given brownout capabilities: The application will disable certain features – e.g., an online shop will no longer display recommendations of related products – to avoid overload. Although reducing features generally has a negative impact on the short-term revenue of the application owner, long-term revenue loss can be avoided. The technique is inspired by brownouts in power grids, which consists in reducing the power grid's voltage in case electricity demand exceeds production. Some consumers, such as incandescent light bulbs, will dim – hence originating the term – and draw less power, thus helping match demand with production. Similarly, a brownout application helps match its computing capacity requirements to what is available on the target infrastructure. Brownout complements elasticity. The former can help the application withstand short-term capacity shortage, but does so without changing the capacity available to the application. In contrast, elasticity consists of adding (or removing) capacity to the application, preferably in advance, so as to avoid capacity shortage altogether. The two techniques can be combined; e.g., brownout is triggered when the number of users increases unexpectedly until elasticity can be triggered, the latter usually requiring minutes to show an effect. Brownout is relatively non-intrusive for the developer, for example, it can be implemented as an advice in aspect-oriented programming. However, surrounding components, such as load-balancers, need to be made brownout-aware to distinguish between cases where an application is running normally and cases where the application maintains a low response time by triggering brownout. == Usage in phased deprecation == A related use of the brownout concept in software engineering is the deliberate introduction of temporary outages to a system, API or feature that is being phased out. This is sometimes also called a "scream test" when it is used to discover unknown dependents of a system or API. The intention is to allow detection of downstream consumers of an API or service who may otherwise have missed deprecation announcements or to uncover hidden side-effects of the deprecation that may have been overlooked. The intention is that developers of dependent systems will notice their own system failures caused by the upstream brownout. Such brownouts are typically pre-announced scheduled outages or probabilistic in nature (such as artificially failing a percentage of requests). As a brownout is only a temporary or partial outage, it provides downstream consumers of an API or service time to remove any discovered dependencies on the deprecated API before it is fully retired. For consumers that have already prepared for the deprecation, a brownout provides valuable testing that the final removal of the service won't cause any unexpected problems.

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  • 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

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  • 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)

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  • SpreeAI

    SpreeAI

    SpreeAI (stylized as SPREEAI) is an American fashion technology company headquartered in Incline Village, Nevada that develops artificial intelligence software for the apparel and retail industries, including photorealistic virtual try-on, AI-powered sizing recommendations, and digital model generation. Founded in 2022 by John Imah and Bob Davidson, the company achieved unicorn status in 2025 following a Series B round led by Davidson Group that valued the company at approximately US$1.5 billion. TechCrunch identified SpreeAI as one of the more than 100 new tech unicorns minted in 2025. Its board of directors includes supermodel Naomi Campbell and hospitality executive Larry Ruvo. == History == SpreeAI was founded in 2022 by John Imah and Bob Davidson with a focus on artificial intelligence applications in fashion retail. By 2024, the company had raised approximately US$60 million in venture funding. In May 2025, SpreeAI announced a Series B round led by Davidson Group; reporting at the time placed the company's valuation at approximately US$1.5 billion, making it one of a small number of fashion-technology companies to reach unicorn status. In January 2026, TechCrunch listed SpreeAI among the more than 100 new tech unicorns minted in 2025. == Technology == SpreeAI develops a suite of artificial intelligence tools for the apparel industry. Its consumer-facing platform allows shoppers to upload a single photograph or select a digital model and then visualize clothing items on that figure with photorealistic rendering, while a complementary sizing engine generates fit recommendations intended to reduce returns. The platform is designed for integration with online retailers so that shoppers can preview garments before purchase. The company has stated that its models were developed in part through research collaborations with the Massachusetts Institute of Technology and Carnegie Mellon University. == Leadership and board == John Imah, a Nigerian-American technology executive who previously held roles at Samsung, Twitch, Meta Platforms, and Snap Inc., is co-founder and chief executive officer. Co-founder Bob Davidson, through Davidson Group, led the company's Series B financing. The company's board of directors includes supermodel Naomi Campbell, who joined in 2024, and Las Vegas hospitality executive Larry Ruvo. == Partnerships == SpreeAI has formed partnerships across both academia and the fashion industry. Council of Fashion Designers of America (CFDA). In 2025, SpreeAI entered a partnership with the CFDA to support American designers and brands with AI-driven tools; the CFDA described SpreeAI as "a fashion technology leader delivering innovative solutions to help designers and brands thrive." Massachusetts Institute of Technology and Carnegie Mellon University. The company has cited ongoing research and talent collaborations with both institutions. Sergio Hudson and Kai Collective. In 2025, SpreeAI made what WWD described as its Met Gala debut through a custom collaboration with designer Sergio Hudson and Nigerian-British label Kai Collective; the collaboration paired Hudson's couture with SpreeAI's virtual try-on platform. == Recognition == In 2025, TechCrunch named SpreeAI among the new tech unicorns of the year. In 2025, SpreeAI was named an honoree in Inc.'s Best in Business awards, and CEO John Imah was included on Inc.'s list of 40 business leaders who "propelled their organizations to success." In 2025, Imah was named to the Observer's AI Power Index, a list of 100 leaders shaping the future of artificial intelligence. In 2025, Imah was included in AfroTech's Future 50, recognizing Black innovators in technology. SpreeAI and Imah have been the subject of profile coverage in The Washington Post, Rolling Stone UK, WWD, Vogue UA, L'Officiel Arabia, GQ South Africa, and Inc..

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  • TimeTiger

    TimeTiger

    TimeTiger is a time and project tracking app developed by Indigo Technologies Ltd. in Toronto, Ontario, Canada. Indigo was founded in 1997 and initially released TimeTiger in 1998. == Company == The company was incorporated in 1997 and began operations as a custom software developer. TimeTiger (internally called TaskMaster) was developed as a tool to help with Indigo's own project planning and estimating. After releasing TimeTiger as a commercial product in 1998, Indigo shifted its focus to time and project management solutions. TimeTiger first introduced support for web-based time logging in 2000, to appeal to workers who were not already tracking their time for billing reasons. Subsequent development emphasized project analysis tools. == Features == Web-based electronic time log "To Do" list to monitor project and non-project activities Pivot table report designer Role-based access control == Software integration == Reports can be exported to Microsoft Excel or saved as Excel-compatible HTML files. Microsoft Project files can be imported and exported. A Software Development Kit is available.

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  • Micah Xavier Johnson

    Micah Xavier Johnson

    Micah Xavier Johnson (July 2, 1991 – July 8, 2016) was an American Army reserve Afghan war veteran, black nationalist, and mass murderer who perpetrated the 2016 shooting of Dallas police officers during a Black Lives Matter protest. He ambushed and killed five officers and wounded eleven others in Downtown, Dallas, Texas. He was killed by police during a standoff after expressing anger over police killings of black men. The shootings were the second-deadliest targeted attack on law enforcement officers in U.S. history, surpassed only by the September 11 attacks. == Early life == Micah Xavier Johnson was born in Magee, Mississippi, on July 2, 1991, and he was raised in Mesquite, Texas. When he was four years old, his parents divorced. At 17, Johnson enrolled at John Horn High School, where he joined the Junior Reserve Officers' Training Corps, as reported by the Mesquite Independent school district. He faced academic challenges, graduating in 2009 with a 1.98 GPA and ranking 430th out of 453 students in his class. In Spring 2011, Johnson registered for four courses at Richland college but did not complete any. Evidence suggests his enrollment at Richland gave him access to El Centro College, due to his pre-planned and coordinated movements throughout Building B during his standoff with police in 2016. == Military service == === Enlistment and early service === Micah Xavier Johnson enlisted in the U.S. Army Reserve in March 2009 at the age of 18, shortly after graduating high school in Mesquite, Texas. His initial service was primarily stateside, where he trained as a carpentry and masonry specialist (military occupational specialty 51B). This role involved engineering tasks such as construction and repair in support of military operations. During his reserve tenure, Johnson served part-time while living at home, and he was described by family and friends as initially idealistic about the military, even aspiring to become a police officer. === Deployment to Afghanistan === In September 2013, Johnson was activated for full-time duty and deployed to Afghanistan as part of the 420th Engineer Brigade, a unit based in Seagoville, Texas. His tour began in November 2013 and lasted approximately eight months, ending in July 2014. During this period, he performed non-combat engineering duties, though the stresses of serving in a combat zone were noted by those close to him. Associates from his service later suggested he experienced significant psychological strain, including the loss of friends and general disillusionment with military life, which contrasted with his pre-deployment enthusiasm. His mother later reflected that "the military was not what Micah thought it would be." === Sexual harassment allegation and early return === About six months into his deployment, in May 2014, Johnson faced a serious accusation of sexual harassment from a higher-ranking female soldier. She filed for a military protective order against him, prompting an investigation. As a result, his chain of command recommended an "other than honorable" discharge—the second (more severe is a dishonorable discharge, which does not require a court martial) most severe administrative separation short of a court-martial—and he was sent back to the United States ahead of schedule. Despite this, Johnson was not court-martialed, and the case did not lead to criminal charges. A military lawyer who represented him described the handling as unusual, noting that "someone really screwed up" in allowing him to avoid harsher consequences. === Post-deployment and discharge === Upon returning stateside in August 2014, Johnson resumed reserve duties with his engineering brigade until April 2015. He was honorably discharged at the rank of private first class (E-3), a relatively low junior enlisted rank after six years of service, which military sources attributed partly to the unresolved harassment allegation impacting his promotions and evaluations. Friends and family observed a marked change in his demeanor post-deployment: he became more reclusive, resentful toward the government, and withdrawn, with some speculating that the Afghanistan experience and the scandal contributed to a "small breakdown." In July 2016, following the Dallas shooting, the U.S. Army launched an internal review of his service record, including the harassment claims, to assess whether all misconduct allegations had been fully investigated. == Shootings == On July 7, 2016, a peaceful Black Lives Matter protest marched through downtown Dallas, Texas, drawing about 800 demonstrators. The event responded to the recent police killings of Alton Sterling in Baton Rouge, Louisiana, on July 5, and Philando Castile in Falcon Heights, Minnesota, on July 6—both black men shot during encounters captured on video. Around 100 officers monitored the march, which passed near El Centro College without incident until gunfire erupted around 8:45 p.m. Johnson arrived in a dark SUV, armed with an SKS semi-automatic rifle, a handgun, extra ammunition, and ballistic vests. He parked near the protest's end, chatted briefly with two officers, then opened fire on police from an elevated position on Lamar Street (now Botham Jean Boulevard). He shot from behind barriers, through windows, and while moving, targeting white officers specifically. The ambush killed five officers and wounded seven more, plus two civilians. Gunfire scattered protesters in panic as Johnson used military-style tactics, like quick position changes, to prolong the assault. === Standoff and Johnson's end === Johnson fled into El Centro College's Building C, then Building B, navigating pre-planned routes with familiarity from prior enrollment at nearby Richland College. He barricaded in a parking garage, wounding more officers in close-range fights. During two-hour negotiations, he taunted police via phone—laughing, singing, asking kill counts, and claiming planted bombs (none found). He admitted solo action, rage at White officers, and no group ties. At 2:30 a.m. on July 8, SWAT ended the standoff by detonating a bomb via remote-controlled robot in the garage, killing Johnson. This marked the first U.S. police use of such a tactic. === Victims and investigation findings === The slain officers were: Brent Thompson (Transit Authority, 36), Patrick Zamarripa (Dallas PD, 33), Michael Krol (Dallas PD, 40), Lorne Ahrens (Dallas PD, 48), and Michael Smith (Dallas PD, 55). Wounded officers included Sheik Smith, John Mitchell, and others; civilians She Tamara El-Sobky and Hillary Castro. Searches of Johnson's home revealed bomb-making materials, rifles, vests, and notes on tactics, suggesting plans for a larger attack. He had practiced explosions and honed skills post-discharge, including marksmanship. === Aftermath and impact === Dallas mourned with vigils and memorials, while national protests against police violence continued amid grief. President Barack Obama, the first African American president of the United States, called Johnson a "demented individual" and formed a task force on race and policing. The incident fueled debates on gun control, race relations, and veteran mental health—Johnson had sought VA treatment for stress and anxiety but showed no prior violent signs to friends. El Centro College canceled all classes on July 8. Police barricaded the perimeter and began canvassing the crime scene. The explosion that killed Johnson also destroyed the school's servers, further delaying reopening. The school partially reopened on July 20, with staff returning that day and students on the following day. Buildings A, B, and C remained closed pending the FBI investigation. == Motive == An investigation into his online activities uncovered his interest in black nationalist groups. The Southern Poverty Law Center (SPLC), and news outlets reported that Johnson "liked" the Facebook pages of black nationalist organizations such as the New Black Panther Party (NBPP), Nation of Islam, and Black Riders Liberation Party, three groups which are listed by the SPLC as hate groups. On Facebook, Johnson posted an angry and "disjointed" post against White people on July 2, several days before the attack. NBPP head Quanell X said after the shooting that Johnson had been a member of the NBPP's Houston chapter for about six months, several years before. Quanell X added that Johnson had been "asked to leave" the group for violating the organization's "chain of command" and espousing dangerous rhetoric, such as asking the NBPP why they had not purchased more weapons and ammunition, and expressing his desire to harm black church preachers because he believed they were more interested in money than God. Following the shooting, a national NBPP leader distanced the group from Johnson, saying that he "was not a member of" the party. Further investigation into his digital footprint showed that Johnson visited the sites of Marxist Leninist groups associated with "Revolutionary Black Nationalism",

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  • Neuroshima

    Neuroshima

    Neuroshima is a Polish tabletop roleplaying system inspired by such films and games as Mad Max, Fallout, The Matrix, Terminator and Deadlands: Hell on Earth. It is currently available only in Polish. The game's motto is "never trust the machines". Its designers include Michal Oracz and Ignacy Trzewiczek. == Setting == The game describes the United States in the mid-21st century, after a nuclear war started by a cybernetic revolt, which molded the continent into a barren wasteland. It seems that the reason for the war to break out was a sentient Artificial Intelligence commonly referred to as Moloch and made up of interconnected net of military computers: automated factories, military facilities, power plants and alike, that now cover the whole north of the U.S., from Oregon to the Great Lakes. On the south, there is another creation, called the Neojungle, that poses a threat to those who survived the war. It is a semi-intelligent carnivorous vegetation that grows very quickly, advancing north from Latin America. Right in the middle, there are humans. They are surrounded by mutant creatures, some bred by Moloch and hostile towards humans, and some simply animals and humans misshapen by nuclear fallout. On top of that there are Moloch's deadly machines lurking to complete the picture. But what is stressed in the book is that the worst enemy of humans is within them: hatred, indifference, greed. === Landscapes of Neuroshima === Car wrecks, ruined towns and villages, collapsed roofs on deserted houses, broken glass in the windows of abandoned gas stations fill the landscape of the United States of the middle of the 21st century. Technology is history - cars will not start, radios are jammed, no electricity whatsoever almost everywhere the characters go. Shops and malls are looted, prosperous villages are burned by gangers, and safe places are very sparse. === People in Neuroshima === No one knows how many people survived the war with machines, but it is estimated that their number oscillates around 2-3 million. Some people reverted to nomadic lifestyles and live in the deserts, some of them try to build the civilisation anew in devastated cities, some of them form gangs of highwaymen (called gangers), some of them just try to make a living by growing crops, and finally, there are those who just wander around the wasteland; the adventuring sort here is mostly represented by player characters. Each village they visit in this world is a discrete microcosm and nothing is certain as whether the inhabitants are welcoming or shoot strangers on sight. The continent is full of small, anonymous settlements, but there are places which aspire to become post-nuclear states. === Places in Neuroshima === In this world it is very important where you come from, and that is because people are prejudiced and afraid of strangers. Different places produce different kinds of people, and who you are is determined by where you are from. Examples: The Southern Hegemony - (commonly referred to as 'the Hegemony') - located in what was once Arizona, New Mexico and partially Texas. A place where brute force determines one's place in the society. Dominated by gangs and unhampered by Moloch, the Hegemony is a threat to neighbouring lands. Vegas - the only well-lit city in the post-apocalyptic world. Home to many playhouses and casinos, it attracts people from every part of the country. Mother Desert - if you were born in the desert, whenever you go away from civilisation, you feel at home. Many Native Americans still live out there and are doing fine - after all the warheads did not hit the deserts. Detroit - known for some of the best drivers and racers in the post-nuclear US. Home of many gangs, such as The Shultz (mafia styled), Hurons (punkers), The League (racers), Parker Lots (gothic assassins) and the Gas Drinkers (mutant barbarians). New York - a place which has established a strong government and would like to rebuild America. They maintain schools, factories and railways and send soldiers to fight Moloch. Surprisingly enough, they sometimes succeed. Texas - the healthiest place in America. Actually, the only place where one can find green vegetation. Modern Texans still grow crops, breed horses and herd cattle, like their ancestors in the 19th century did. The Appalachian Federation - a place ruled by feudal lords. They have a social class system, in which people are divided into nobility and peasantry. Thanks to its iron and coal deposits, it's one of the richest places in the post-nuclear U.S. The Outpost - A mobile settlement run by scientists who aim to destroy Moloch. In coalition with New York, they manage an army, which is yet to stop Moloch's advance south. They steal technology from the machines they destroy and apply it to their own advantage. == System == The game uses its own, custom system of rules. The dice you use is d20. This system does not have an official name, but it is unconnected to the d20 system, as it typically uses three twenty-sided dice. === Four colours === Neuroshima relies on the division of the gameplay into something the authors called Four Colours, namely steel, chrome, rust and mercury. The choice of a particular colour is made by the gamemaster (the decision can be consulted with the players in order to enhance the game experience) and determines the mood, atmosphere and the type of events/characters present in the story. The name of the colour itself implies the kind of gameplay it will symbolise. These colours are: Steel - this kind of gameplay is characterised by a slightly optimistic attitude towards the world. The aim is to raise the spirit of the characters by showing them that the war with the machines that is going on may be a difficult one, but it is not unwinnable, and that humans, when strong and united, can build the world anew. Example of a story: a unit of soldiers dispatched from the Outpost is sent to build a bunker and establish a relay base far in the north in order to plan a counter-tactic against Moloch's advance south. Chromium - is characterised by a hedonistic attitude. The characters are supposed to enjoy anything that is left from the world after the war and the story is supposed to allow them to do that. Example: the characters are offered a well-paid job by a local ganger boss who extorts wares from local tradesmen. Their job is to drive around the county and pick up the extorted items and trade it for drugs. Rust - a depressing, pessimistic mood. The characters will encounter rust, dilapidation and ruin everywhere they go. All the elements and NPCs of a story played in this mood are supposed to put the characters down and destroy their spirit. Example: the characters, badly wounded after a gunfight and robbed of all their possession find refuge in a village which is constantly raided by gangers. The characters' quest is to repel those attacks, but the enemies outnumber them and are well equipped, whereas the characters have nothing to fight with. Mercury (Quicksilver) - the most depressing side of the game; usually stories played in this mood end with the death of all the characters. The aim of this mood is to show that any kind of action undertaken is futile and that the war is already over, hence all the people are already dead, which is a fact they just need to realise. Example: a group of soldiers stationed in a bunker is awaiting an attack by mutants. They are well-armed and trained, but there is a mistake in the intelligence they were given and they do not know yet that they are seriously outnumbered. The attack commences at dusk and it is already too late to retreat, so the characters decide to seal off the bunker, hopeful that the mutants will not be able to get inside and simply go away. The mutants attack the bunker with chemical weapons instead. The characters do not have enough gas masks to go around. As an effect, those strong enough will kill the weaker ones to get their masks, not knowing that the mutants will blow up the sealed entrance the following morning. == Official rulebooks and sourcebooks == The current edition is 1.5 [1]. Since the release of the game in 2003, sourcebooks have been appearing. The game keeps growing bigger with every add-on, as well as the storyline, which is updated in those sourcebooks and in Space Pirate (pl. Gwiezdny Pirat) magazine, also published by Portal. === List of released rulebooks and sourcebooks === Neuroshima 1.0 - the original edition of the core rulebook (out of print). Neuroshima 1.5 - enhanced and revised core rulebook, with new material added and some material cut out. Wyścig (The Race) - sourcebook dedicated to cars and racing; contains rules concerning building your own vehicle and new character classes connected with driving. Gladiator - sourcebook describing in detail the "Gladiator" character class. Supplement (Supplement) - sourcebook revising the core rulebook. Detroit - sourcebook describing the city of Detroit, its inhabi

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  • List of artificial intelligence artists

    List of artificial intelligence artists

    Many notable artificial intelligence artists have created a wide variety of artificial intelligence art from the 1960s to today. These include: == 20th century == Harold Cohen, active from 1960s to 2010s. Cohen's work is primarily with AARON, a series of computer programs that autonomously create original images. Eric Millikin, active from 1980s to present. Millikin's work includes AI-generated virtual reality, video art, poetry, music, and performance art, on topics such as animal rights, climate change, anti-racism, witchcraft, and the occult. Karl Sims, active from 1980s to present. Sims is best known for using particle systems and artificial life in computer animation. == 21st century == Refik Anadol, active from 2010s to present. Anadol's work includes video installations based on generative algorithms with artificial intelligence. Sougwen Chung, active from 2010s to present. Chung's work includes performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. Stephanie Dinkins, active from 2010s to present. Dinkins' work includes recordings of conversations with an artificially intelligent robot that resembles a black woman, discussing topics such as race and the nature of being. Jake Elwes, active from 2010s to present. Their practice is the exploration of artificial intelligence, queer theory and technical biases. Libby Heaney, active from 2010s to present. Heaney's practice includes work with chatbots. Mario Klingemann, active from 2010s to present. Klingemann's works examine creativity, culture, and perception through machine learning and artificial intelligence. Mauro Martino, active from 2010s to present. Martino's work includes design, data visualization and infographics. Trevor Paglen, active from 2000s to present. Paglen's practice includes work in photography and geography, on topics like mass surveillance and data collection. Anna Ridler, active from 2010s to present. Ridler works with collections of information, including self-generated data sets, often working with floral photography.

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  • Tessellation (computer graphics)

    Tessellation (computer graphics)

    In computer graphics, tessellation is the dividing of datasets of polygons (sometimes called vertex sets) presenting objects in a scene into suitable structures for rendering. Especially for real-time rendering, data is tessellated into triangles, for example in OpenGL 4.0 and Direct3D 11. == In graphics rendering == A key advantage of tessellation for realtime graphics is that it allows detail to be dynamically added and subtracted from a 3D polygon mesh and its silhouette edges based on control parameters (often camera distance). In previously leading realtime techniques such as parallax mapping and bump mapping, surface details could be simulated at the pixel level, but silhouette edge detail was fundamentally limited by the quality of the original dataset. In Direct3D 11 pipeline (a part of DirectX 11), the graphics primitive is the patch. The tessellator generates a triangle-based tessellation of the patch according to tessellation parameters such as the TessFactor, which controls the degree of fineness of the mesh. The tessellation, along with shaders such as a Phong shader, allows for producing smoother surfaces than would be generated by the original mesh. By offloading the tessellation process onto the GPU hardware, smoothing can be performed in real time. Tessellation can also be used for implementing subdivision surfaces, level of detail scaling and fine displacement mapping. OpenGL 4.0 uses a similar pipeline, where tessellation into triangles is controlled by the Tessellation Control Shader and a set of four tessellation parameters. == In computer-aided design == In computer-aided design the constructed design is represented by a boundary representation topological model, where analytical 3D surfaces and curves, limited to faces, edges, and vertices, constitute a continuous boundary of a 3D body. Arbitrary 3D bodies are often too complicated to analyze directly. So they are approximated (tessellated) with a mesh of small, easy-to-analyze pieces of 3D volume—usually either irregular tetrahedra, or irregular hexahedra. The mesh is used for finite element analysis. The mesh of a surface is usually generated per individual faces and edges (approximated to polylines) so that original limit vertices are included into mesh. To ensure that approximation of the original surface suits the needs of further processing, three basic parameters are usually defined for the surface mesh generator: The maximum allowed distance between the planar approximation polygon and the surface (known as "sag"). This parameter ensures that mesh is similar enough to the original analytical surface (or the polyline is similar to the original curve). The maximum allowed size of the approximation polygon (for triangulations it can be maximum allowed length of triangle sides). This parameter ensures enough detail for further analysis. The maximum allowed angle between two adjacent approximation polygons (on the same face). This parameter ensures that even very small humps or hollows that can have significant effect to analysis will not disappear in mesh. An algorithm generating a mesh is typically controlled by the above three and other parameters. Some types of computer analysis of a constructed design require an adaptive mesh refinement, which is a mesh made finer (using stronger parameters) in regions where the analysis needs more detail.

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  • Riffusion

    Riffusion

    Riffusion is a neural network, designed by Seth Forsgren and Hayk Martiros, that generates music using images of sound rather than audio. The resulting music has been described as "de otro mundo" (otherworldly), although unlikely to replace man-made music. The model was made available on December 15, 2022, with the code also freely available on GitHub. The first version of Riffusion was created as a fine-tuning of Stable Diffusion, an existing open-source model for generating images from text prompts, on spectrograms, resulting in a model which used text prompts to generate image files which could then be put through an inverse Fourier transform and converted into audio files. While these files were only several seconds long, the model could also use latent space between outputs to interpolate different files together (using the img2img capabilities of SD). It was one of many models derived from Stable Diffusion. In December 2022, Mubert similarly used Stable Diffusion to turn descriptive text into music loops. In January 2023, Google published a paper on their own text-to-music generator called MusicLM. Forsgren and Martiros formed a startup, also called Riffusion, and raised $4 million in venture capital funding in October 2023.

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  • Residuated Boolean algebra

    Residuated Boolean algebra

    In mathematics, a residuated Boolean algebra is a residuated lattice whose lattice structure is that of a Boolean algebra. Examples include Boolean algebras with the monoid taken to be conjunction, the set of all formal languages over a given alphabet Σ {\displaystyle \Sigma } under concatenation, the set of all binary relations on a given set X {\displaystyle X} under relational composition, and more generally the power set of any equivalence relation, again under relational composition. The original application was to relation algebras as a finitely axiomatized generalization of the binary relation example, but there exist interesting examples of residuated Boolean algebras that are not relation algebras, such as the language example. == Definition == A residuated Boolean algebra is an algebraic structure ( L , ∧ , ∨ , ¬ , 0 , 1 , ∙ , I , / , ∖ ) {\displaystyle (L,\wedge ,\vee ,\neg ,0,1,\bullet ,\mathbf {I} ,/,\backslash )} such that An equivalent signature better suited to the relation algebra application is ( L , ∧ , ∨ , ¬ , 0 , 1 , ∙ , I , ▹ , ◃ ) {\displaystyle (L,\wedge ,\vee ,\neg ,0,1,\bullet ,\mathbf {I} ,\triangleright ,\triangleleft )} where the unary operations x ∖ {\displaystyle x\backslash } and x ▹ {\displaystyle x\triangleright } are intertranslatable in the manner of De Morgan's laws via x ∖ y = ¬ ( x ▹ ¬ y ) {\displaystyle x\backslash y=\neg (x\triangleright \neg y)} , x ▹ y = ¬ ( x ∖ ¬ y ) {\displaystyle x\triangleright y=\neg (x\backslash \neg y)} , and dually / y {\displaystyle /y} and ◃ y {\displaystyle \triangleleft y} as x / y = ¬ ( ¬ x ◃ y ) {\displaystyle x/y=\neg (\neg x\triangleleft y)} , x ◃ y = ¬ ( ¬ x / y ) {\displaystyle x\triangleleft y=\neg (\neg x/y)} , with the residuation axioms in the residuated lattice article reorganized accordingly (replacing z {\displaystyle z} by ¬ z {\displaystyle \neg z} ) to read ( x ▹ z ) ∧ y = 0 ⇔ ( x ∙ y ) ∧ z = 0 ⇔ ( z ◃ y ) ∧ x = 0 {\displaystyle (x\triangleright z)\wedge y=0\ \Leftrightarrow \ (x\bullet y)\wedge z=0\ \Leftrightarrow \ (z\triangleleft y)\wedge x=0} This De Morgan dual reformulation is motivated and discussed in more detail in the section below on conjugacy. Since residuated lattices and Boolean algebras are each definable with finitely many equations, so are residuated Boolean algebras, whence they form a finitely axiomatizable variety. == Examples == Any Boolean algebra, with the monoid multiplication ∙ {\displaystyle \bullet } taken to be conjunction and both residuals taken to be material implication x → y {\displaystyle x\to y} . Of the remaining 15 binary Boolean operations that might be considered in place of conjunction for the monoid multiplication, only five meet the monotonicity requirement, namely 0 , 1 , x , y {\displaystyle 0,1,x,y} and x ∨ y {\displaystyle x\vee y} . Setting y = z = 0 {\displaystyle y=z=0} in the residuation axiom y ≤ x ∖ z ⇔ x ∙ y ≤ z {\displaystyle y\leq x\backslash z\ \Leftrightarrow \ x\bullet y\leq z} , we have 0 ≤ x ∖ 0 ⇔ x ∙ 0 ≤ 0 {\displaystyle 0\leq x\backslash 0\ \Leftrightarrow \ x\bullet 0\leq 0} , which is falsified by taking x = 1 {\displaystyle x=1} when x ∙ y = 1 {\displaystyle x\bullet y=1} , x {\displaystyle x} , or x ∨ y {\displaystyle x\vee y} . The dual argument for z / y {\displaystyle z/y} rules out x ∙ y = y {\displaystyle x\bullet y=y} . This just leaves x ∙ y = 0 {\displaystyle x\bullet y=0} (a constant binary operation independent of x {\displaystyle x} and y {\displaystyle y} ), which satisfies almost all the axioms when the residuals are both taken to be the constant operation x / y = x ∖ y = 1 {\displaystyle x/y=x\backslash y=1} . The axiom it fails is x ∙ I = x = I ∙ x {\displaystyle x\bullet \mathbf {I} =x=\mathbf {I} \bullet x} , for want of a suitable value for I {\displaystyle \mathbf {I} } . Hence conjunction is the only binary Boolean operation making the monoid multiplication that of a residuated Boolean algebra. The power set 2 X 2 {\displaystyle 2^{X^{2}}} made a Boolean algebra as usual with ∩ {\displaystyle \cap } , ∪ {\displaystyle \cup } and complement relative to X 2 {\displaystyle X^{2}} , and made a monoid with relational composition. The monoid unit I {\displaystyle \mathbf {I} } is the identity relation { ( x , x ) | x ∈ X } {\displaystyle \{(x,x)|x\in X\}} . The right residual R ∖ S {\displaystyle R\backslash S} is defined by x ( R ∖ S ) y ⇔ ∀ z ∈ X , z R x ⇒ z S y {\displaystyle x(R\backslash S)y\ \Leftrightarrow \ \forall z\in X,zRx\Rightarrow zSy} . Dually the left residual S / R {\displaystyle S/R} is defined by y ( S / R ) x ⇔ ∀ z ∈ X , x R z ⇒ y S z {\displaystyle y(S/R)x\ \Leftrightarrow \ \forall z\in X,xRz\Rightarrow ySz} . The power set 2 Σ ∗ {\displaystyle 2^{\Sigma ^{}}} made a Boolean algebra as for Example 2, but with language concatenation for the monoid. Here the set Σ {\displaystyle \Sigma } is used as an alphabet while Σ ∗ {\displaystyle \Sigma ^{}} denotes the set of all finite (including empty) words over that alphabet. The concatenation L M {\displaystyle LM} of languages L {\displaystyle L} and M {\displaystyle M} consists of all words u v {\displaystyle uv} such that u ∈ L {\displaystyle u\in L} and v ∈ M {\displaystyle v\in M} . The monoid unit is the language { ε } {\displaystyle \{\varepsilon \}} consisting of just the empty word ε {\displaystyle \varepsilon } . The right residual M ∖ L {\displaystyle M\backslash L} consists of all words w {\displaystyle w} over Σ {\displaystyle \Sigma } such that M w ⊆ L {\displaystyle Mw\subseteq L} . The left residual L / M {\displaystyle L/M} is the same with w M {\displaystyle wM} in place of M w {\displaystyle Mw} . == Conjugacy == The De Morgan duals ▹ {\displaystyle \triangleright } and ◃ {\displaystyle \triangleleft } of residuation arise as follows. Among residuated lattices, Boolean algebras are special by virtue of having a complementation operation ¬ {\displaystyle \neg } . This permits an alternative expression of the three inequalities y ≤ x ∖ z ⇔ x ∙ y ≤ z ⇔ x ≤ z / y {\displaystyle y\leq x\backslash z\ \Leftrightarrow \ x\bullet y\leq z\ \Leftrightarrow \ x\leq z/y} in the axiomatization of the two residuals in terms of disjointness, via the equivalence x ≤ y ⇔ x ∧ ¬ y = 0 {\displaystyle x\leq y\ \Leftrightarrow \ x\wedge \neg y=0} . Abbreviating x ∧ y = 0 {\displaystyle x\wedge y=0} to x # y {\displaystyle x\#y} as the expression of their disjointness, and substituting ¬ z {\displaystyle \neg z} for z {\displaystyle z} in the axioms, they become with a little Boolean manipulation ¬ ( x ∖ ¬ z ) # y ⇔ x ∙ y # z ⇔ ¬ ( ¬ z / y ) # x {\displaystyle \neg (x\backslash \neg z)\#y\ \Leftrightarrow \ x\bullet y\#z\ \Leftrightarrow \ \neg (\neg z/y)\#x} Now ¬ ( x ∖ ¬ z ) {\displaystyle \neg (x\backslash \neg z)} is reminiscent of De Morgan duality, suggesting that x ∖ {\displaystyle x\backslash } be thought of as a unary operation f {\displaystyle f} , defined by f ( y ) = x ∖ y {\displaystyle f(y)=x\backslash y} , that has a De Morgan dual ¬ f ( ¬ y ) {\displaystyle \neg f(\neg y)} , analogous to ∀ x ϕ ( x ) = ¬ ∃ x ¬ ϕ ( x ) {\displaystyle \forall x\phi (x)=\neg \exists x\neg \phi (x)} . Denoting this dual operation as x ▹ {\displaystyle x\triangleright } , we define x ▹ z {\displaystyle x\triangleright z} as ¬ x ∖ ¬ z {\displaystyle \neg x\backslash \neg z} . Similarly we define another operation z ◃ y {\displaystyle z\triangleleft y} as ¬ ( ¬ z / y ) {\displaystyle \neg (\neg z/y)} . By analogy with x ∖ {\displaystyle x\backslash } as the residual operation associated with the operation x ∙ {\displaystyle x\bullet } , we refer to x ▹ {\displaystyle x\triangleright } as the conjugate operation, or simply conjugate, of x ∙ {\displaystyle x\bullet } . Likewise ◃ y {\displaystyle \triangleleft y} is the conjugate of ∙ y {\displaystyle \bullet y} . Unlike residuals, conjugacy is an equivalence relation between operations: if f {\displaystyle f} is the conjugate of g {\displaystyle g} then g {\displaystyle g} is also the conjugate of f {\displaystyle f} , i.e. the conjugate of the conjugate of f {\displaystyle f} is f {\displaystyle f} . Another advantage of conjugacy is that it becomes unnecessary to speak of right and left conjugates, that distinction now being inherited from the difference between x ∙ {\displaystyle x\bullet } and ∙ x {\displaystyle \bullet x} , which have as their respective conjugates x ▹ {\displaystyle x\triangleright } and ◃ x {\displaystyle \triangleleft x} . (But this advantage accrues also to residuals when x ∖ {\displaystyle x\backslash } is taken to be the residual operation to x ∙ {\displaystyle x\bullet } .) All this yields (along with the Boolean algebra and monoid axioms) the following equivalent axiomatization of a residuated Boolean algebra. y # x ▹ z ⇔ x ∙ y # z ⇔ x # z ◃ y {\displaystyle y\#x\triangleright z\ \Leftrightarrow \ x\bullet y\#z\ \Leftrightarrow \ x\#z\triangleleft y} With this signature it remains the case that this axiomatization can be expressed as

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  • International Conference on Autonomous Agents and Multiagent Systems

    International Conference on Autonomous Agents and Multiagent Systems

    The International Conference on Autonomous Agents and Multiagent Systems or AAMAS is the leading scientific conference for research in the areas of artificial intelligence, autonomous agents, and multiagent systems. It is annually organized by a non-profit organization called the International Foundation for Autonomous Agents and Multiagent Systems (IFAAMAS). == History == The International Conference on Autonomous Agents and Multiagent Systems (AAMAS) is a highly respected joint conference that provides a quality forum for discussing research in intelligent computational agents and their interactions. It is a merger of three major international conferences/workshops, namely the International Conference on Autonomous Agents (AGENTS), International Conference on Multi-Agent Systems (ICMAS), and International Workshop on Agent Theories, Architectures, and Languages (ATAL). ICMAS is itself a merger of three formative workshops, each with an attendance of fewer than 50 researchers. At a meeting during IJCAI-93 held in Chambery, France in August 1993, the leaders of the European Workshops on Modelling Autonomous Agents in a Multi-Agent World, the Asian MAAC Workshops, and the North American Distributed Artificial Intelligence Workshops (Victor Lesser, Michael N. Huhns, Les Gasser, Barbara Grosz, Nicholas Jennings, Michael Wooldridge, Gerhard Weiss, Mario Tokoro, and Toru Ishida) began the planning for a combined conference, which resulted in the first ICMAS in San Francisco, CA, USA in 1995, attended by more than 500 researchers. The AAMAS Conference is under the guidance and management of the International Foundation for Autonomous Agents and Multiagent Systems, which is incorporated as a 501(c)(3) non-profit organization in South Carolina, USA. == Current and previous conferences == 2024: Auckland, New Zealand (May 6-10) 2023: London, United Kingdom (May 29-June 1) 2022: Auckland, New Zealand (May 9–13) 2021: London, United Kingdom (May 3-May 7) 2020: Auckland, New Zealand (May 9–13) 2019: Montreal, Canada (May 13–17) 2018: Stockholm, Sweden (July 10–15) 2017: São Paulo, Brazil 2016: Singapore City, Singapore 2015: Istanbul, Turkey 2014: Paris, France 2013: Saint Paul, USA 2012: Valencia, Spain 2011: Taipei, Taiwan 2010: Toronto, Canada 2009: Budapest, Hungary 2008: Estoril, Portugal 2007: Honolulu, USA 2006: Hakodate, Japan 2005: Utrecht, The Netherlands 2004: New York, USA 2003: Melbourne, Australia 2002: Bologna, Italy == Activities == Besides the main program that consists of a main track, an industry and applications track, and a couple of special area tracks, AAMAS also hosts over 20 workshops (e.g., AOSE, COIN, DALT, ProMAS, to mention a few) and many tutorials. There is also a demonstration session and a doctoral symposium. Finally, each year AAMAS features a bunch of awards, most notably the IFAAMAS Influential Paper Award. It publishes proceedings which are available online.

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  • Automated restaurant

    Automated restaurant

    An automated restaurant or robotic restaurant is a restaurant that uses robots to do tasks such as delivering food and drink to the tables or cooking the food. Restaurant automation means the use of a restaurant management system to automate some or occasionally all of the major operations of a restaurant establishment. More recently, restaurants are opening that have completely or partially automated their services. These may include: taking orders, preparing food, serving, and billing. A few fully automated restaurants operate without any human intervention whatsoever. Robots are designed to help and sometimes replace human labour (such as waiters and chefs). The automation of restaurants may also allow for the option for greater customization of an order. == History == === Vending machines === In the late 19th and early 20th century a number of restaurants served food solely through vending machines. These restaurants were called automats or, in Japan, shokkenki. Customers ordered their food directly through the machines. === Sushi conveyors === Yoshiaki Shiraishi is a Japanese innovator who is known for the creation of conveyor belt sushi. He had the idea following difficulty staffing his small sushi restaurant and managing the restaurant on his own. He was inspired seeing beer bottles on a conveyor belt in an Asahi brewery. Yoshiaki's restaurants are an early example of restaurant automation; they used a conveyor belt to distribute dishes around the restaurant, eliminating the need for waiters. This example of automation dates back to the Japanese economic miracle; the first of Yoshiaki's conveyor belt sushi restaurants was opened under the name Mawaru Genroku Sushi in 1958, in Osaka. === Partial automation === As of 2011, across Europe, McDonald's had already begun implementing 7,000 touch screen kiosks that could handle cashiering duties. From 2015 to 2020, Zume had an automated pizza parlor. Later companies would try to produce smaller, less ambitious devices, with one robotics company producing a machine that could automate the slowest and most repetitive parts of assembling a pizza, such as spreading pizza sauce or placing slices of pepperoni, while leaving other customizations to employees. In 2020, a restaurant in the Netherlands began trialling the use of a robot to serve guests. In September 2021, Karakuri's 'Semblr' food service robot served personalised lunches for the 4,000 employees of grocery technology solutions provider ocado Group's head offices in Hatfield, UK. 2,700 different combinations of dishes were on offer. Customers could specify in grams what hot and cold items, proteins, sauces and fresh toppings they wanted. In 2021, Columbia University School of Engineering and Applied Science engineers developed a method of cooking 3D printed chicken with software-controlled robotic lasers. The “Digital Food” team exposed raw 3D printed chicken structures to both blue and infrared light. They then assessed the cooking depth, colour development, moisture retention and flavour differences of the laser-cooked 3D printed samples in comparison to stove-cooked meat. In June 2022 a California nonprofit chain of residential communities, Front Porch, experimented with robots in dining rooms at two locations to supplement wait staff by carrying plated food and drink to tables, and removing dishes. 65% of residents found the robots helpful, with 51% saying they let the staff spend more quality time with diners. 51% of staff were "excited" and 58% said they enabled more quality time with diners. The chain has 19 senior living communities (and 35 affordable housing communities), so it has potential to expand robots to more dining rooms. It is shifting to memory care, which may affect plans. == Rationales == === Advantages === Efficiency: Automated restaurants can significantly enhance operational efficiency by minimizing human error and reducing service time. With automated ordering, payment, and food preparation systems, customers can enjoy faster service and reduced waiting times. Cost savings: By reducing the need for human staff, automated restaurants can potentially lower labor costs. This can be particularly beneficial in areas with high labor expenses, as it allows for better resource allocation and cost management. Consistency: Automation ensures consistency in food quality and presentation. With precise portion control and standardized cooking methods, customers can expect the same quality and taste in their meals every time they visit. Enhanced customer experience: Self-service kiosks and automated systems provide customers with control and convenience. They can customize their orders, browse through menu options, and pay seamlessly, creating a more interactive and satisfying dining experience. === Disadvantages === Lack of personal touch: Automated restaurants may lack the personal interaction and warmth that traditional restaurants provide. Some customers prefer the human touch, personalized recommendations, and the social aspect of dining out. Technical issues: Reliance on technology means that technical glitches and malfunctions can occur, resulting in service disruptions or delays. Maintenance and technical support become critical in ensuring smooth operations. Limited menu complexity: The automation process may be better suited for standardized menu items rather than complex or customized dishes. The ability to cater to unique dietary preferences or accommodate special requests may be limited. Employment implications: Automated restaurants may result in job losses for traditional restaurant staff, potentially impacting the local workforce. It is important to consider the social and economic implications of adopting such technology. == Locations == Automated restaurants have been opening in many countries. Examples include: Nala Restaurant in Naperville, Illinois Fritz's Railroad Restaurant in Kansas City, Kansas Výtopna, a Railway Restaurant using model trains: franchise of various restaurants and coffeehouses in the Czech Republic Bagger's Restaurant in Nuremberg, Germany FuA-Men Restaurant, a ramen restaurant located in Nagoya, Japan Fōster Nutrition in Buenos Aires, Argentina Dalu Robot Restaurant in Jinan, China Haohai Robot Restaurant in Harbin, China Robot Kitchen Restaurant in Hong Kong Robo-Chef restaurant in Tehran, Iran, started in 2017, is the first robotic and "waiterless" restaurant of the Middle East. MIT graduates opened Spyce Kitchens in downtown Boston, Massachusetts, in 2018 Foodom, under Country Garden Holdings, opened January 12, 2020, in Guangzhou, China Robot Chacha, the first robot restaurant of India, is planning to open in the capital city of New Delhi. Kura Revolving Sushi Bar, with a number of locations in the United States, uses a tablets at tables for ordering, a conveyor belt to deliver food, and robots to deliver drinks and condiments. Chipotle Mexican Grill is beginning to deploy the Hyphen Makeline, which assembles up to 350 bowls and salads automatically per hour, and Chippy, an automatic tortilla chip fryer made by Miso Robotics. Serious Dumplings in Boca Raton, Florida

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  • Generative literature

    Generative literature

    Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."

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  • Age Of

    Age Of

    Age Of is the eighth studio album by American electronic producer Oneohtrix Point Never, released on June 1, 2018, on Warp Records. Recorded over two years, it is the first Oneohtrix Point Never album to prominently feature Daniel Lopatin's own vocals. The album was accompanied by the MYRIAD tour, which premiered as a "conceptual concertscape" in 2018 at the Park Avenue Armory and ended its run in 2019. It features contributions from James Blake (who additionally produced and mixed the album), Anohni, Prurient, Kelsey Lu and Eli Keszler. The artwork, which employs Jim Shaw's "The Great Whatsit" as a central image, was designed by David Rudnick. While not entering the official United States Billboard 200 chart, it peaked at number 59 on the magazine's Top Current Albums chart. == Background == Lopatin produced Age Of in parts of a two-year period, during which he was also producing for other artists, including Anohni, FKA Twigs, Iggy Pop, and David Byrne. After composing the soundtrack for the Safdie Brothers' 2017 film Good Time, Lopatin moved to an Airbnb lodge in South Central Massachusetts, derived from his aspiration to live out the modern cliche of musicians moving to the woods to record albums; the eerie atmosphere in the lodge at nighttime influenced his desire to make "weird, little nightmare ballads". In addition to Lopatin's own singing, the album also features vocal performances from Anohni and Prurient, while instrumentalists Kelsey Lu and Eli Keszler contribute to several tracks. When the record was nearly finished, Lopatin reached out to musician James Blake to contribute to the mixing process, eventually traveling to Los Angeles to complete the album. The track "The Station" was originally composed as a demo for R&B singer Usher which was ultimately not used. On July 9, 2018, Lopatin released the original topline (vocal melody) demo for The Station through Sendspace. The track "Toys 2" imagines a theoretical sequel to the 1992 film Toys where actor Robin Williams' image has been recreated with CGI (as his will specifically forbade any usage of his image after his death), and pokes fun at the common electronic music trope of composing a soundtrack to a theoretical film (which Lopatin described as "horribly cliché"). == Concept and MYRIAD == Influences on Age Of included Stanley Kubrick's 1968 film 2001: A Space Odyssey, which inspired the narrative of the album's accompanying performance installation and tour MYRIAD, as well as William Strauss's The Fourth Turning, a favorite book of former White House Chief Strategist Steve Bannon, which Lopatin described as "insidious, like the voice of a computer insisting on the truth about history without any sensitivity given to how complex and non-linear systems might be"; Lopatin was subsequently inspired to "[use] that sort of taxonomy as a kind of farce to then create these little frameworks for understanding". Other inspirations included the writings of the 1990s multidisciplinary collective Cybernetic Culture Research Unit and the works of singer-songwriters such as Bruce Cockburn, Bob Dylan, and Paul Simon. Around the time Lopatin began finalizing Age Of in his Airbnb lodge, he began working on the concept for MYRIAD, a conceptual concert performance which premiered at Park Avenue Armory. He described the concept as a four-part "epochal song cycle" showcasing the idiocy of previous generations of living organisms. The loose story concerns a group of artificial intelligences near the end of time named a "Limitless Living Informational Intelligence" (represented in the MYRIAD logo as nine squares) which, for leisurely purposes, attempt to replicate the cultures and behaviors of the previously existent human species. It does this by determining an "average" of human experiences through the species' "recorded output", and does so through imperfect, heuristic techniques. The show was consequently divided into four sections, each representing an epoch of the cycle concept loosely inspired by the Strauss–Howe generational theory: the Age of Ecco, the Age of Harvest, the Age of Excess, and the Age of Bondage. Ecco is "a phase of pre-evolutionary ignorance", Harvest is "living in agrarian harmony with the world", Excess is "the age of unchecked industrial ambition", and Bondage is "an era of engorgement, wherein "we keep making more and more shit until there's no space left." MYRIAD mainly featured "three-hundred pound sculptures that hang from the ceiling like kebabs that secrete ooze", and a full ensemble that toured to perform songs from Age Of, including Eli Keszler, Kelly Moran and Aaron David Ross. The sculptures, as well as the visuals displayed on five polygon panels, were created by frequent Oneohtrix Point Never collaborator Nate Boyce. Initially, Lopatin planned for each of the album's four epoches to be represented by fragrances, the more noisy epochs being pleasant to the nose to make a "weird dissonance". However, due to lack of time and resources, that part of the plan was scrapped. == Composition == Whereas previous Oneohtrix Point Never albums followed musical styles from only distinctive eras, Age Of is the first album by Lopatin to incorporate elements of unique genres from a variety of periods, hence the "incompleteness" of its title according to reviewer Heather Phares, and his first pop-song-oriented release since his work for Ford & Lopatin. The sound palettes it uses are those from a variety of styles such as chamber pop, "android"-like folk and country music, yacht rock, smooth jazz, R&B, Future-style soul, black metal, new age, and stadium pop, as well as post-industrial sounds on tracks like "Warning", "We'll Take It" and "Same", and, in particular, baroque music and medieval music on the opening title track, "Age Of". Critics also noted elements of Lopatin's past discography being present on Age Of. The instrumentation of Age Of is made up of MIDI harpsichords, guitars, pianos, brass and vocals, as well as Lopatin's trademark unorthodox sound design, samples and synth presets. The LP's use of the harpsichord shows its similarities "with Eastern instruments such as the koto and with rapid-fire electronic melodies", wrote Phares. == Critical reception == Age Of was critically well-received upon its distribution. Some reviewers praised the album's use of collaborators. Reviewing the album for AllMusic, Heather Phares called Age Of a "landmark work" for Lopatin. She praised it as his "widest-ranging" release, elaborating that he "matches the album's ambition with plenty of emotion" and "gives his music exciting new shapes." Ross Devlin of The Skinny, in a five-star review of the record, also highlighted the album's amount of ambition, particularly the "wealth of exquisitely baroque moments, exploring history as a pliable, multi-dimensional rift", that gave it "exceptional sonic depth". The Observer praised Age Of for continuing the "off-kilter composition and unexpected instrumentation" of Lopatin's previous releases, and critic Matt McDermott highlighted that the producer increased his musical range with the record: "It's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture." Age Of was ranked the 15th best release of the year in The Wire magazine's annual critics' poll. == Track listing == Notes "Myriad Industries" is stylized as "myriad.industries". Sample credits "Age Of" contains a sample of "Blow the Wind" by Jocelyn Pook. "Manifold" contains a sample from "Overture (Ararat the Border Crossing)" by Tayfun Erdem; and a sample from "Venice Beach in Winter" (listed in the liner notes as "a keyboard sample from Reharmonization") by Julian Bradley. "Myriad Industries" contains a sample of "EchoSpace" by Gil Trythall. == Accolades == == Personnel == Daniel Lopatin – production, lead vocals, album art, design James Blake – additional production, mixing, keyboards Gabriel Schuman, Joshua Smith and Evan Sutton – assistance Greg Calbi – mastering David Rudnick – album art, design Prurient – vocals Kelsey Lu – keyboards Anohni – vocals Eli Keszler – drums Shaun Trujillo – words == Charts ==

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