AI Data Room

AI Data Room — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Fake nude photography

  Fake nude photography is the creation of nude photographs designed to appear as genuine nudes of an individual. The motivations for the creation of these modified photographs include curiosity, sexual gratification, the stigmatization or embarrassment of the subject, and commercial gain, such as through the sale of the photographs via pornographic websites. Fakes can be created using image editing software or through machine learning. Fake images created using the latter method are called deepfakes. == History == Magazines such as Celebrity Skin published non-fake paparazzi shots and illicitly obtained nude photos, showing there was a market for such images. Subsequently, some websites hosted fake nude or pornographic photos of celebrities, which are sometimes referred to as celebrity fakes. In the 1990s and 2000s, fake nude images of celebrities proliferated on Usenet and on websites, leading to campaigns to take legal action against the creators of the images and websites dedicated to determining the veracity of nude photos. "Deepfakes", which use artificial neural networks to superimpose one person's face into an image or video of someone else, were popularized in the late 2010s, leading to concerns about the technology's use in fake news and revenge porn. Fake nude photography is sometimes confused with Deepfake pornography, but the two are distinct. Fake nude photography typically starts with human-made non-sexual images, and merely makes it appear that the people in them are nude (but not having sex). Deepfake pornography typically starts with human-made sexual (pornographic) images or videos, and alters the actors' facial features to make the participants in the sexual act look like someone else. === DeepNude === In June 2019, a downloadable Windows and Linux application called DeepNude was released which used a Generative Adversarial Network to remove clothing from images of women. The images it produced were typically not pornographic, merely nude. Because there were more images of nude women than men available to its creator, the images it produced were all female, even when the original was male. The app had both a paid and unpaid version. A few days later, on June 27, the creators removed the application and refunded consumers, although various copies of the app, both free and for charge, continue to exist. On GitHub, the open-source version of this program called "open-deepnude" was deleted. The open-source version had the advantage of allowing it to be trained on a larger dataset of nude images to increase the resulting nude image's accuracy level. A successor free software application, Dreamtime, was later released, and some copies of it remain available, though some have been suppressed. === Deepfake Telegram Bot === In July 2019 a deepfake bot service was launched on messaging app Telegram that used AI technology to create nude images of women. The service was free and enabled users to submit photos and receive manipulated nude images within minutes. The service was connected to seven Telegram channels, including the main channel that hosts the bot, technical support, and image sharing channels. While the total number of users was unknown, the main channel had over 45,000 members. As of July 2020, it is estimated that approximately 24,000 manipulated images had been shared across the image sharing channels. === Nudify websites === By late 2024, most ways to produce nude images from photographs of clothed people were accessible at websites rather than in apps, and required payment. == Purposes == The reasons for the creation of nude photos may range from a need to discredit the target publicly, personal hatred for the target, or the promise of pecuniary gains for such work on the part of the creator of such photos. Fake nude photos often target prominent figures such as businesspeople or politicians. == Notable cases == In 2010, 97 people were arrested in Korea after spreading fake nude pictures of the group Girls' Generation on the internet. In 2011, a 53-year-old Incheon man was arrested after spreading more fake pictures of the same group. In 2012, South Korean police identified 157 Korean artists of whom fake nudes were circulating. In 2012, when Liu Yifei's fake nude photography released on the network, Liu Yifei Red Star Land Company declared a legal search to find out who created and released the photos. In the same year, Chinese actor Huang Xiaoming released nude photos that sparked public controversy, but they were ultimately proven to be real pictures. In 2014, supermodel Kate Upton threatened to sue a website for posting her fake nude photos. Previously, in 2011, this page was threatened by Taylor Swift. In November 2014, singer Rain was angry because of a fake nude photo that spread throughout the internet. Information reveals that: "Rain's nude photo was released from Kim Tae-hee's lost phone." Rain's label, Cube Entertainment, stated that the person in the nude photo is not Rain and the company has since stated that it will take strict legal action against those who post photos together with false comments. In July 2018, Seoul police launched an investigation after a fake nude photo of President Moon Jae-in was posted on the website of the Korean radical feminist group WOMAD. In early 2019, Alexandria Ocasio-Cortez, a Democratic politician, was berated by other political parties over a fake nude photo of her in the bathroom. The picture created a huge wave of media controversy in the United States. == Methods == Fake nude images can be created using image editing software or neural network applications. There are two basic methods: Combine and superimpose existing images onto source images, adding the face of the subject onto a nude model. Remove clothes from the source image to make it look like a nude photo. == Impact == Images of this type may have a negative psychological impact on the victims and may be used for extortion purposes.

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  The Quantum Thief

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

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  Maschinen Krieger ZbV 3000

  Maschinen Krieger (Ma.K ZBV3000), often abbreviated as Ma.K., is a science fiction intellectual property created by Japanese artist and sculptor Kow Yokoyama in the 1980s. It consists of an illustrated series, a line of merchandise comprising display and action figures of mecha characters and a 1985 short film. == History == The franchise originally began as the science fiction series SF3D which ran as monthly installments in the Japanese hobby magazine Hobby Japan from 1982 to 1985. To develop the storyline, Kow Yokoyama collaborated with Hiroshi Ichimura as story editor and Kunitaka Imai as graphic designer. The three creators drew visual inspiration from their combined interest in World War I and World War II armor and aircraft, the American space program and films such as Star Wars, Blade Runner and The Road Warrior. Inspired by the ILM model builders who worked on Star Wars, Yokoyama built the original models from numerous kits including armor, aircraft, and automobiles. He mostly concentrated on powered armor suits, but later included bipedal walking tanks and aircraft with anti-gravity systems. In 1986, there was a dispute with Hobby Japan over the copyright of the series. The magazine dropped SF3D from its line-up of articles and Nitto ceased production of various kits of the series. The matter was tied up in the courts for years until Yokoyama was awarded the full copyright to the series in the 1990s. Yokoyama and Hobby Japan eventually reconciled and restarted their working relationship, ditching the old SF3D name in favor of Maschinen Krieger ZbV3000, otherwise known as Ma.K. == Story == A nuclear World War IV in 2807 kills most of Earth's population and renders the planet uninhabitable. Fifty-two years after the war, a research team from an interstellar union called the Galactic Federation is sent to Earth and discovers that the planet's natural environment has restored itself. The Federation decides to repopulate the planet and sends over colonists to the surface. Cities and towns are eventually reformed over the next 20 years, but this growth attracts the attention of criminals, military deserters, and other lawless elements who wanted to hide on Earth—away from the authorities. A few militias protect the colonists, but the new interlopers often defeat them. Fearing civil unrest and the colonists forming their own government, the Federation gives the Strahl Democratic Republic (SDR) the right to govern the planet in the late 2870s. The SDR sends three police battalions and three Foreign Legion corps to Earth and uses heavy-handed tactics such as travel restrictions and hard labor camps to restore order, which creates resentment amongst the colonists. In response, the colonists create the Earth Independent Provisional Government and declare independence from the SDR. The SDR immediately establishes a puppet government and attempts to quell the uprising. The wealthy colonists hire mercenaries who are descendants of WWIV veterans to form the Independent Mercenary Army (IMA), which is bolstered by the presence of SDR Foreign Legion defectors. They attack the SDR forces and the battle to control Earth begins in 2882. Over the next four years, the SDR and IMA fight each other at several locations worldwide while developing new technology along the way. The war turns up a notch in June 2883 when the IMA deploys a new weapon - the Armored Fighting Suit powered armor - to devastating effect. The SDR eventually builds their own AFS units. In the last SF3D installment published in the December 1986 issue of Hobby Japan, the IMA successfully defeats the new SDR Königs Kröte unmanned command-and-control mecha using a computer virus that also creates a new artificial intelligence system on the moon. == Merchandise == === Model kits === Fan interest from the installments in Hobby Japan resulted in a small Japanese model company, Nitto, securing the license and quickly released 21 injection molded kits from the series during its entire run in the magazine. Most of the Nitto model kits are in 1:20 scale, while others were made in 1:76 and 1:6 scale. Production of the kits stopped with the end of the Hobby Japan features in 1986, but Nitto reissued many of the original kits under the Maschinen Krieger name, albeit with new decals and box art. Some of the original Nitto kits such as the Krachenvogel are highly sought after by collectors. The Nitto models were also the basis for similar offerings from Japanese model companies Wave and ModelKasten. Wave, in particular, is currently producing original-tooled kits of various subjects in the franchise, such as the Armored Fighting Suits powered armor. Smaller companies such as Brick Works and Love Love Garden have made limited resin pilot figures to go with these model kits. At the 2008 Nuremberg Toy Fair in Germany, the Hasegawa company - known mostly for its line of military and civilian vehicles — announced plans to carry the Ma.K license, having successfully branched into pop culture franchises such as Macross. Hasegawa's venture into the franchise came with the release of the Pkf 85 Falke attack craft in March 2009. The company's Ma.K line has since expanded to at least ten kits either 1:35 or 1:20 scale, including a 1:35 Scale Nutrocker tank and the Mk44 humanoid mecha suit from Robot Battle V, a sidestory to the franchise. Wave corporation also has a line of 1/20 models. While Hasegawa largely maintained the yellow-box aesthetic from the older nitto kits, Wave has a more colorful box design. Certain garage kit manufacturers such as Rainbow-Egg are allowed to produce their own line of resin kits and accessories, upon securing special authorization from Yokoyama himself. === Toys === The franchise also contains a line of action and display figures. The Japanese hobby shop and toy company Yellow Submarine and garage kit maker Max Factory released several pre-finished figures in 1:35 and 1:16 scale. MediCom Toys included Chibi Ma.K. figures in their Kubrick line, plus two 1:6 SAFS figures with working lights and fully poseable pilot figures. === Books === Numerous sourcebooks and modeling guides that further flesh out the information in the series have been released. Hobby Japan published a compilation of the first 15 SF3D installments in 1983 and reprinted them in March 2010. Eventually, the magazine re-released all 43 installments in a slipcase compilation called "SF3D Chronicles" in August 2010, which organized the installments into two separate books: "Heaven" featuring articles on aerial models, and "Earth" for ground-based models. Model Graphix followed suit with their own line of sourcebooks, which provide tutorials from Yokoyama on how he makes his figures. Some sourcebooks also have custom decal sets. === Miniature wargaming === In 2019, Slave 2 Gaming gained the license to produce and sell 1:100 scale (15mm) metal and resin war gaming miniatures. This new range of Maschinen Krieger figures was given the name Ma.K in 15mm, so as to not complicate sales with customers, and rebrand the Ma.k name for the miniature wargaming world. The figures are designed and cast in Australia. They are sold exclusively through Slave 2 Gaming at this time due to the license agreement with Sensei Yokoyama. With the production of the miniatures, a set of gaming rules in the works, with the plan is to release all the current Maschinen Krieger models. == Short film == Yokoyama collaborated with Tsuburaya Productions to create a live-action SF3D film using miniatures in 1985. Directed by Shinichi Ohoka from a script penned by co-producer Hisao Ichikura, the 25-minute SF3D Original Video opens with wreckage left from a battle in the Wiltshire wastelands on Christmas Day 2884 before focusing on a badly damaged IMA SAFS unit. The pilot, Cpl Robert Bush (Tristan Hickey), who is still alive, seeks to get his armored suit back and running and leave the battle area, which is under heavy jamming. Seeing two of the SDR's new Nutrocker (Nutcracker) robot hovertanks arrive nearby, Bush tries to hide, but bodily functions give him away. One Nutcracker gives chase and the SAFS AI points out to Bush how to defeat it. He eventually clambers on to the tank, which passes through the rubble of a town and randomly shoots at high places to bring down objects that could snag him. With the SAFS' right arm sheared off by the Nutcracker's laser blasts and snow settling in, Bush is knocked unconscious all night long from the fall while the tank breaks down under the cold. The next day, the SAFS AI wakes up Bush because the Nutcracker is active again and is preparing to kill him. Bush gets up and faces the tank as it charges towards him. However, the Nutcracker gets too close to a cliff that buckles under its weight and Bush fires his laser into the tank's underbelly. The tank plunges into a ravine and explodes. Bush walks away and reestablishes radio contact with his base. It is revealed that the battle was a field test of th

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  Residuated lattice

  In abstract algebra, a residuated lattice is an algebraic structure that is simultaneously a lattice x ≤ y and a monoid x•y that admits operations x\z and z/y, loosely analogous to division or implication, when x•y is viewed as multiplication or conjunction, respectively. Called respectively right and left residuals, these operations coincide when the monoid is commutative. The general concept was introduced by Morgan Ward and Robert P. Dilworth in 1939. Examples, some of which existed prior to the general concept, include Boolean algebras, Heyting algebras, residuated Boolean algebras, relation algebras, and MV-algebras. Residuated semilattices omit the meet operation ∧, for example Kleene algebras and action algebras. == Definition == In mathematics, a residuated lattice is an algebraic structure L = (L, ≤, •, I) such that (i) (L, ≤) is a lattice. (ii) (L, •, I) is a monoid. (iii) For all z there exists for every x a greatest y, and for every y a greatest x, such that x•y ≤ z (the residuation properties). In (iii), the "greatest y", being a function of z and x, is denoted x\z and called the right residual of z by x. Think of it as what remains of z on the right after "dividing" z on the left by x. Dually, the "greatest x" is denoted z/y and called the left residual of z by y. An equivalent, more formal statement of (iii) that uses these operations to name these greatest values is (iii)' for all x, y, z in L, y ≤ x\z ⇔ x•y ≤ z ⇔ x ≤ z/y. As suggested by the notation, the residuals are a form of quotient. More precisely, for a given x in L, the unary operations x• and x\ are respectively the lower and upper adjoints of a Galois connection on L, and dually for the two functions •y and /y. By the same reasoning that applies to any Galois connection, we have yet another definition of the residuals, namely, x•(x\y) ≤ y ≤ x\(x•y), and (y/x)•x ≤ y ≤ (y•x)/x, together with the requirement that x•y be monotone in x and y. (When axiomatized using (iii) or (iii)' monotonicity becomes a theorem and hence not required in the axiomatization.) These give a sense in which the functions x• and x\ are pseudoinverses or adjoints of each other, and likewise for •x and /x. This last definition is purely in terms of inequalities, noting that monotonicity can be axiomatized as x • y ≤ (x∨z) • y and similarly for the other operations and their arguments. Moreover, any inequality x ≤ y can be expressed equivalently as an equation, either x∧y = x or x∨y = y. This along with the equations axiomatizing lattices and monoids then yields a purely equational definition of residuated lattices, provided the requisite operations are adjoined to the signature (L, ≤, •, I) thereby expanding it to (L, ∧, ∨, •, I, /, \). When thus organized, residuated lattices form an equational class or variety, whose homomorphisms respect the residuals as well as the lattice and monoid operations. Note that distributivity x • (y ∨ z) = (x • y) ∨ (x • z) and x•0 = 0 are consequences of these axioms and so do not need to be made part of the definition. This necessary distributivity of • over ∨ does not in general entail distributivity of ∧ over ∨, that is, a residuated lattice need not be a distributive lattice. However distributivity of ∧ over ∨ is entailed when • and ∧ are the same operation, a special case of residuated lattices called a Heyting algebra. Alternative notations for x•y include x◦y, x;y (relation algebra), and x⊗y (linear logic). Alternatives for I include e and 1'. Alternative notations for the residuals are x → y for x\y and y ← x for y/x, suggested by the similarity between residuation and implication in logic, with the multiplication of the monoid understood as a form of conjunction that need not be commutative. When the monoid is commutative the two residuals coincide. When not commutative, the intuitive meaning of the monoid as conjunction and the residuals as implications can be understood as having a temporal quality: x•y means x and then y, x → y means had x (in the past) then y (now), and y ← x means if-ever x (in the future) then y (at that time), as illustrated by the natural language example at the end of the examples. == Examples == One of the original motivations for the study of residuated lattices was the lattice of (two-sided) ideals of a ring. Given a ring R, the ideals of R, denoted Id(R), forms a complete lattice with set intersection acting as the meet operation and "ideal addition" acting as the join operation. The monoid operation • is given by "ideal multiplication", and the element R of Id(R) acts as the identity for this operation. Given two ideals A and B in Id(R), the residuals are given by A / B := { r ∈ R ∣ r B ⊆ A } {\displaystyle A/B:=\{r\in R\mid rB\subseteq A\}} B ∖ A := { r ∈ R ∣ B r ⊆ A } {\displaystyle B\setminus A:=\{r\in R\mid Br\subseteq A\}} It is worth noting that {0}/B and B\{0} are respectively the left and right annihilators of B. This residuation is related to the conductor (or transporter) in commutative algebra written as (A:B)=A/B. One difference in usage is that B need not be an ideal of R: it may just be a subset. Boolean algebras and Heyting algebras are commutative residuated lattices in which x•y = x∧y (whence the unit I is the top element 1 of the algebra) and both residuals x\y and y/x are the same operation, namely implication x → y. The second example is quite general since Heyting algebras include all finite distributive lattices, as well as all chains or total orders, for example the unit interval [0,1] in the real line, or the integers and ± ∞ {\displaystyle \pm \infty } . The structure (Z, min, max, +, 0, −, −) (the integers with subtraction for both residuals) is a commutative residuated lattice such that the unit of the monoid is not the greatest element (indeed there is no least or greatest integer), and the multiplication of the monoid is not the meet operation of the lattice. In this example the inequalities are equalities because − (subtraction) is not merely the adjoint or pseudoinverse of + but the true inverse. Any totally ordered group under addition such as the rationals or the reals can be substituted for the integers in this example. The nonnegative portion of any of these examples is an example provided min and max are interchanged and − is replaced by monus, defined (in this case) so that x-y = 0 when x ≤ y and otherwise is ordinary subtraction. A more general class of examples is given by the Boolean algebra of all binary relations on a set X, namely the power set of X2, made a residuated lattice by taking the monoid multiplication • to be composition of relations and the monoid unit to be the identity relation I on X consisting of all pairs (x,x) for x in X. Given two relations R and S on X, the right residual R\S of S by R is the binary relation such that x(R\S)y holds just when for all z in X, zRx implies zSy (notice the connection with implication). The left residual is the mirror image of this: y(S/R)x holds just when for all z in X, xRz implies ySz. This can be illustrated with the binary relations < and > on {0,1} in which 0 < 1 and 1 > 0 are the only relationships that hold. Then x(>\<)y holds just when x = 1, while x()y holds just when y = 0, showing that residuation of < by > is different depending on whether we residuate on the right or the left. This difference is a consequence of the difference between <•> and >•<, where the only relationships that hold are 0(<•>)0 (since 0<1>0) and 1(>•<)1 (since 1>0<1). Had we chosen ≤ and ≥ instead of < and >, ≥\≤ and ≤/≥ would have been the same because ≤•≥ = ≥•≤, both of which always hold between all x and y (since x≤1≥y and x≥0≤y). The Boolean algebra 2Σ of all formal languages over an alphabet (set) Σ forms a residuated lattice whose monoid multiplication is language concatenation LM and whose monoid unit I is the language {ε} consisting of just the empty string ε. The right residual M\L consists of all words w over Σ such that Mw ⊆ L. The left residual L/M is the same with wM in place of Mw. The residuated lattice of all binary relations on X is finite just when X is finite, and commutative just when X has at most one element. When X is empty the algebra is the degenerate Boolean algebra in which 0 = 1 = I. The residuated lattice of all languages on Σ is commutative just when Σ has at most one letter. It is finite just when Σ is empty, consisting of the two languages 0 (the empty language {}) and the monoid unit I = {ε} = 1. The examples forming a Boolean algebra have special properties treated in the article on residuated Boolean algebras. == Residuated semilattice == A residuated semilattice is defined almost identically for residuated lattices, omitting just the meet operation ∧. Thus it is an algebraic structure L = (L, ∨, •, 1, /, \) satisfying all the residuated lattice equations as specified above except those containing an occurrence of the symbol ∧. The option of defining x ≤ y as x∧y = x is then not available, leaving on

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  Egocentric vision

  Egocentric vision or first-person vision is a sub-field of computer vision that entails analyzing images and videos captured by a wearable camera, which is typically worn on the head or on the chest and naturally approximates the visual field of the camera wearer. Consequently, visual data capture the part of the scene on which the user focuses to carry out the task at hand and offer a valuable perspective to understand the user's activities and their context in a naturalistic setting. The wearable camera looking forwards is often supplemented with a camera looking inward at the user's eye and able to measure a user's eye gaze, which is useful to reveal attention and to better understand the user's activity and intentions. == History == The idea of using a wearable camera to gather visual data from a first-person perspective dates back to the 70s, when Steve Mann invented "Digital Eye Glass", a device that, when worn, causes the human eye itself to effectively become both an electronic camera and a television display. Subsequently, wearable cameras were used for health-related applications in the context of Humanistic Intelligence and Wearable AI. Egocentric vision is best done from the point-of-eye, but may also be done by way of a neck-worn camera when eyeglasses would be in-the-way. This neck-worn variant was popularized by way of the Microsoft SenseCam in 2006 for experimental health research works. The interest of the computer vision community into the egocentric paradigm has been arising slowly entering the 2010s and it is rapidly growing in recent years, boosted by both the impressive advances in the field of wearable technology and by the increasing number of potential applications. The prototypical first-person vision system described by Kanade and Hebert, in 2012 is composed by three basic components: a localization component able to estimate the surrounding, a recognition component able to identify object and people, and an activity recognition component, able to provide information about the current activity of the user. Together, these three components provide a complete situational awareness of the user, which in turn can be used to provide assistance to the user or to the caregiver. Following this idea, the first computational techniques for egocentric analysis focused on hand-related activity recognition and social interaction analysis. Also, given the unconstrained nature of the video and the huge amount of data generated, temporal segmentation and summarization were among the first problems addressed. After almost ten years of egocentric vision (2007–2017), the field is still undergoing diversification. Emerging research topics include: Social saliency estimation Multi-agent egocentric vision systems Privacy preserving techniques and applications Attention-based activity analysis Social interaction analysis Hand pose analysis Ego graphical User Interfaces (EUI) Understanding social dynamics and attention Revisiting robotic vision and machine vision as egocentric sensing Activity forecasting Gaze prediction == Technical challenges == Today's wearable cameras are small and lightweight digital recording devices that can acquire images and videos automatically, without the user intervention, with different resolutions and frame rates, and from a first-person point of view. Therefore, wearable cameras are naturally primed to gather visual information from our everyday interactions since they offer an intimate perspective of the visual field of the camera wearer. Depending on the frame rate, it is common to distinguish between photo-cameras (also called lifelogging cameras) and video-cameras. The former (e.g., Narrative Clip and Microsoft SenseCam), are commonly worn on the chest, and are characterized by a very low frame rate (up to 2fpm) that allows to capture images over a long period of time without the need of recharging the battery. Consequently, they offer considerable potential for inferring knowledge about e.g. behaviour patterns, habits or lifestyle of the user. However, due to the low frame-rate and the free motion of the camera, temporally adjacent images typically present abrupt appearance changes so that motion features cannot be reliably estimated. The latter (e.g., Google Glass, GoPro), are commonly mounted on the head, and capture conventional video (around 35fps) that allows to capture fine temporal details of interactions. Consequently, they offer potential for in-depth analysis of daily or special activities. However, since the camera is moving with the wearer head, it becomes more difficult to estimate the global motion of the wearer and in the case of abrupt movements, the images can result blurred. In both cases, since the camera is worn in a naturalistic setting, visual data present a huge variability in terms of illumination conditions and object appearance. Moreover, the camera wearer is not visible in the image and what he/she is doing has to be inferred from the information in the visual field of the camera, implying that important information about the wearer, such for instance as pose or facial expression estimation, is not available. == Applications == A collection of studies published in a special theme issue of the American Journal of Preventive Medicine has demonstrated the potential of lifelogs captured through wearable cameras from a number of viewpoints. In particular, it has been shown that used as a tool for understanding and tracking lifestyle behaviour, lifelogs would enable the prevention of noncommunicable diseases associated to unhealthy trends and risky profiles (such as obesity and depression). In addition, used as a tool of re-memory cognitive training, lifelogs would enable the prevention of cognitive and functional decline in elderly people. More recently, egocentric cameras have been used to study human and animal cognition, human-human social interaction, human-robot interaction, human expertise in complex tasks. Other applications include navigation/assistive technologies for the blind, monitoring and assistance of industrial workflows, and augmented reality interfaces.

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  Estimation of distribution algorithm

  Estimation of distribution algorithms (EDAs), sometimes called probabilistic model-building genetic algorithms (PMBGAs), are stochastic optimization methods that guide the search for the optimum by building and sampling explicit probabilistic models of promising candidate solutions. Optimization is viewed as a series of incremental updates of a probabilistic model, starting with the model encoding an uninformative prior over admissible solutions and ending with the model that generates only the global optima. EDAs belong to the class of evolutionary algorithms. The main difference between EDAs and most conventional evolutionary algorithms is that evolutionary algorithms generate new candidate solutions using an implicit distribution defined by one or more variation operators, whereas EDAs use an explicit probability distribution encoded by a Bayesian network, a multivariate normal distribution, or another model class. Similarly as other evolutionary algorithms, EDAs can be used to solve optimization problems defined over a number of representations from vectors to LISP style S expressions, and the quality of candidate solutions is often evaluated using one or more objective functions. The general procedure of an EDA is outlined in the following: t := 0 initialize model M(0) to represent uniform distribution over admissible solutions while (termination criteria not met) do P := generate N>0 candidate solutions by sampling M(t) F := evaluate all candidate solutions in P M(t + 1) := adjust_model(P, F, M(t)) t := t + 1 Using explicit probabilistic models in optimization allowed EDAs to feasibly solve optimization problems that were notoriously difficult for most conventional evolutionary algorithms and traditional optimization techniques, such as problems with high levels of epistasis. Nonetheless, the advantage of EDAs is also that these algorithms provide an optimization practitioner with a series of probabilistic models that reveal a lot of information about the problem being solved. This information can in turn be used to design problem-specific neighborhood operators for local search, to bias future runs of EDAs on a similar problem, or to create an efficient computational model of the problem. For example, if the population is represented by bit strings of length 4, the EDA can represent the population of promising solution using a single vector of four probabilities (p1, p2, p3, p4) where each component of p defines the probability of that position being a 1. Using this probability vector it is possible to create an arbitrary number of candidate solutions. == Estimation of distribution algorithms (EDAs) == This section describes the models built by some well known EDAs of different levels of complexity. It is always assumed a population P ( t ) {\displaystyle P(t)} at the generation t {\displaystyle t} , a selection operator S {\displaystyle S} , a model-building operator α {\displaystyle \alpha } and a sampling operator β {\displaystyle \beta } . == Univariate factorizations == The most simple EDAs assume that decision variables are independent, i.e. p ( X 1 , X 2 ) = p ( X 1 ) ⋅ p ( X 2 ) {\displaystyle p(X_{1},X_{2})=p(X_{1})\cdot p(X_{2})} . Therefore, univariate EDAs rely only on univariate statistics and multivariate distributions must be factorized as the product of N {\displaystyle N} univariate probability distributions, D Univariate := p ( X 1 , … , X N ) = ∏ i = 1 N p ( X i ) . {\displaystyle D_{\text{Univariate}}:=p(X_{1},\dots ,X_{N})=\prod _{i=1}^{N}p(X_{i}).} Such factorizations are used in many different EDAs, next we describe some of them. === Univariate marginal distribution algorithm (UMDA) === The UMDA is a simple EDA that uses an operator α U M D A {\displaystyle \alpha _{UMDA}} to estimate marginal probabilities from a selected population S ( P ( t ) ) {\displaystyle S(P(t))} . By assuming S ( P ( t ) ) {\displaystyle S(P(t))} contain λ {\displaystyle \lambda } elements, α U M D A {\displaystyle \alpha _{UMDA}} produces probabilities: p t + 1 ( X i ) = 1 λ ∑ x ∈ S ( P ( t ) ) x i , ∀ i ∈ 1 , 2 , … , N . {\displaystyle p_{t+1}(X_{i})={\dfrac {1}{\lambda }}\sum _{x\in S(P(t))}x_{i},~\forall i\in 1,2,\dots ,N.} Every UMDA step can be described as follows D ( t + 1 ) = α UMDA ∘ S ∘ β λ ( D ( t ) ) . {\displaystyle D(t+1)=\alpha _{\text{UMDA}}\circ S\circ \beta _{\lambda }(D(t)).} === Population-based incremental learning (PBIL) === The PBIL, represents the population implicitly by its model, from which it samples new solutions and updates the model. At each generation, μ {\displaystyle \mu } individuals are sampled and λ ≤ μ {\displaystyle \lambda \leq \mu } are selected. Such individuals are then used to update the model as follows p t + 1 ( X i ) = ( 1 − γ ) p t ( X i ) + ( γ / λ ) ∑ x ∈ S ( P ( t ) ) x i , ∀ i ∈ 1 , 2 , … , N , {\displaystyle p_{t+1}(X_{i})=(1-\gamma )p_{t}(X_{i})+(\gamma /\lambda )\sum _{x\in S(P(t))}x_{i},~\forall i\in 1,2,\dots ,N,} where γ ∈ ( 0 , 1 ] {\displaystyle \gamma \in (0,1]} is a parameter defining the learning rate, a small value determines that the previous model p t ( X i ) {\displaystyle p_{t}(X_{i})} should be only slightly modified by the new solutions sampled. PBIL can be described as D ( t + 1 ) = α PIBIL ∘ S ∘ β μ ( D ( t ) ) {\displaystyle D(t+1)=\alpha _{\text{PIBIL}}\circ S\circ \beta _{\mu }(D(t))} === Compact genetic algorithm (cGA) === The CGA, also relies on the implicit populations defined by univariate distributions. At each generation t {\displaystyle t} , two individuals x , y {\displaystyle x,y} are sampled, P ( t ) = β 2 ( D ( t ) ) {\displaystyle P(t)=\beta _{2}(D(t))} . The population P ( t ) {\displaystyle P(t)} is then sorted in decreasing order of fitness, S Sort ( f ) ( P ( t ) ) {\displaystyle S_{{\text{Sort}}(f)}(P(t))} , with u {\displaystyle u} being the best and v {\displaystyle v} being the worst solution. The CGA estimates univariate probabilities as follows p t + 1 ( X i ) = p t ( X i ) + γ ( u i − v i ) , ∀ i ∈ 1 , 2 , … , N , {\displaystyle p_{t+1}(X_{i})=p_{t}(X_{i})+\gamma (u_{i}-v_{i}),\quad \forall i\in 1,2,\dots ,N,} where, γ ∈ ( 0 , 1 ] {\displaystyle \gamma \in (0,1]} is a constant defining the learning rate, usually set to γ = 1 / N {\displaystyle \gamma =1/N} . The CGA can be defined as D ( t + 1 ) = α CGA ∘ S Sort ( f ) ∘ β 2 ( D ( t ) ) {\displaystyle D(t+1)=\alpha _{\text{CGA}}\circ S_{{\text{Sort}}(f)}\circ \beta _{2}(D(t))} == Bivariate factorizations == Although univariate models can be computed efficiently, in many cases they are not representative enough to provide better performance than GAs. In order to overcome such a drawback, the use of bivariate factorizations was proposed in the EDA community, in which dependencies between pairs of variables could be modeled. A bivariate factorization can be defined as follows, where π i {\displaystyle \pi _{i}} contains a possible variable dependent to X i {\displaystyle X_{i}} , i.e. | π i | = 1 {\displaystyle |\pi _{i}|=1} . D Bivariate := p ( X 1 , … , X N ) = ∏ i = 1 N p ( X i | π i ) . {\displaystyle D_{\text{Bivariate}}:=p(X_{1},\dots ,X_{N})=\prod _{i=1}^{N}p(X_{i}|\pi _{i}).} Bivariate and multivariate distributions are usually represented as probabilistic graphical models (graphs), in which edges denote statistical dependencies (or conditional probabilities) and vertices denote variables. To learn the structure of a PGM from data linkage-learning is employed. === Mutual information maximizing input clustering (MIMIC) === The MIMIC factorizes the joint probability distribution in a chain-like model representing successive dependencies between variables. It finds a permutation of the decision variables, r : i ↦ j {\displaystyle r:i\mapsto j} , such that x r ( 1 ) x r ( 2 ) , … , x r ( N ) {\displaystyle x_{r(1)}x_{r(2)},\dots ,x_{r(N)}} minimizes the Kullback–Leibler divergence in relation to the true probability distribution, i.e. π r ( i + 1 ) = { X r ( i ) } {\displaystyle \pi _{r(i+1)}=\{X_{r(i)}\}} . MIMIC models a distribution p t + 1 ( X 1 , … , X N ) = p t ( X r ( N ) ) ∏ i = 1 N − 1 p t ( X r ( i ) | X r ( i + 1 ) ) . {\displaystyle p_{t+1}(X_{1},\dots ,X_{N})=p_{t}(X_{r(N)})\prod _{i=1}^{N-1}p_{t}(X_{r(i)}|X_{r(i+1)}).} New solutions are sampled from the leftmost to the rightmost variable, the first is generated independently and the others according to conditional probabilities. Since the estimated distribution must be recomputed each generation, MIMIC uses concrete populations in the following way P ( t + 1 ) = β μ ∘ α MIMIC ∘ S ( P ( t ) ) . {\displaystyle P(t+1)=\beta _{\mu }\circ \alpha _{\text{MIMIC}}\circ S(P(t)).} === Bivariate marginal distribution algorithm (BMDA) === The BMDA factorizes the joint probability distribution in bivariate distributions. First, a randomly chosen variable is added as a node in a graph, the most dependent variable to one of those in the graph is chosen among those not yet in the graph, this procedure is repeated until no remain

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  Degree of truth

  In classical logic, propositions are typically unambiguously considered as being true or false. For instance, the proposition one is both equal and not equal to itself is regarded as simply false, being contrary to the Law of Noncontradiction; while the proposition one is equal to one is regarded as simply true, by the Law of Identity. However, some mathematicians, computer scientists, and philosophers have been attracted to the idea that a proposition might be more or less true, rather than wholly true or wholly false. Consider this pizza is hot. In mathematics, this idea can be developed in terms of fuzzy logic. In computer science, it has found application in artificial intelligence. In philosophy, the idea has proved particularly appealing in the case of vagueness. Degrees of truth is an important concept in law. The term is an older concept than conditional probability. Instead of determining the objective probability, only a subjective assessment is defined. In adjudicative processes, 'substantive truth' is distinct from 'formal legal truth' which comes in four degrees: hearsay, balance of probabilities, proven beyond reasonable doubt and absolute truth (knowledge reserved unto God).

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  Mark I Perceptron

  The Mark I Perceptron was a pioneering supervised image classification learning system developed by Frank Rosenblatt in 1958. It was the first implementation of an artificial intelligence (AI) machine. It differs from the Perceptron which is a software architecture proposed in 1943 by Warren McCulloch and Walter Pitts, which was also employed in Mark I, and enhancements of which have continued to be an integral part of cutting edge AI technologies like the Transformer. == Architecture == The Mark I Perceptron was organized into three layers: A set of sensory units which receive optical input A set of association units, each of which fire based on input from multiple sensory units A set of response units, which fire based on input from multiple association units The connection between sensory units and association units were random. The working of association units was very similar to the response units. Different versions of the Mark I used different numbers of units in each of the layers. == Capabilities == In his 1957 proposal for funding for development of the "Cornell Photoperceptron", Rosenblatt claimed:"Devices of this sort are expected ultimately to be capable of concept formation, language translation, collation of military intelligence, and the solution of problems through inductive logic."With the first version of the Mark I Perceptron as early as 1958, Rosenblatt demonstrated a simple binary classification experiment, namely distinguishing between sheets of paper marked on the right versus those marked on the left side. One of the later experiments distinguished a square from a circle printed on paper. The shapes were perfect and their sizes fixed; the only variation was in their position and orientation. The Mark I Perceptron achieved 99.8% accuracy on a test dataset with 500 neurons in a single layer. The size of the training dataset was 10,000 example images. It took 3 seconds for the training pipeline to go through a single image. Higher accuracy was observed with thick outline figures compared to solid figures, likely because outline figures reduced overfitting. Another experiment distinguished between a square and a diamond for which 100% accuracy was achieved with only 60 training images, with a Perceptron having 1,000 neurons in a single layer. The time taken to process each training input for this larger perceptron was 15 seconds. The only variation was in position of the image, since rotation would have been ambiguous. In that same experiment, it could distinguish between the letters X and E with 100% accuracy when trained with only 20 images (10 images of each letter). Variations in the images included both position and rotation by up to 30 degrees. When variation in rotation was increased to any angle (both in training and test datasets), the accuracy reduced to 90% with 60 training images (30 images of each letter). For distinguishing between the letters E and F, a more challenging problem due to their similarity, the same 1,000 neuron perceptron achieved an accuracy of more than 80% with 60 training images. Variation was only in the position of the image, with no rotation.

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  Underwater computer vision

  Underwater computer vision is a subfield of computer vision. In recent years, with the development of underwater vehicles ( ROV, AUV, gliders), the need to be able to record and process huge amounts of information has become increasingly important. Applications range from inspection of underwater structures for the offshore industry to the identification and counting of fishes for biological research. However, no matter how big the impact of this technology can be to industry and research, it still is in a very early stage of development compared to traditional computer vision. One reason for this is that, the moment the camera goes into the water, a whole new set of challenges appear. On one hand, cameras have to be made waterproof, marine corrosion deteriorates materials quickly and access and modifications to experimental setups are costly, both in time and resources. On the other hand, the physical properties of the water make light behave differently, changing the appearance of a same object with variations of depth, organic material, currents, temperature etc. == Applications == Seafloor survey Vehicle navigation and positioning Biological monitoring {possibly aquatic biomonitoring) Video mosaics as visual navigation maps Submarine pipeline inspection Wreckage visualization Maintenance of underwater structures Drowning detection systems == Medium differences == === Illumination === In air, light comes from the whole hemisphere on cloudy days, and is dominated by the sun. In water direct lighting comes from a cone about 96° wide above the scene. This phenomenon is called Snell's window. Artificial lighting can be used where natural light levels are insufficient and where the light path is too long to produce acceptable colour, as the loss of colour is a function of the total distance through water from the source to the camera lens port. === Light attenuation === Unlike air, water attenuates light exponentially. This results in hazy images with very low contrast. The main reasons for light attenuation are light absorption (where energy is removed from the light) and light scattering, by which the direction of light is changed. Light scattering can further be divided into forward scattering, which results in an increased blurriness and backward scattering that limits the contrast and is responsible for the characteristic veil of underwater images. Both scattering and attenuation are heavily influenced by the amount of organic matter dissolved or suspended in the water. Light attenuation in water is also a function of the wavelength. This means that different colours are attenuated at different rates, leading to colour degradation.with depth and distance. Red and orange light are attenuated faster, followed by yellows and greens. Blue is the least attenuated visible wavelength. === Artificial lighting === == Challenges == In high level computer vision, human structures are frequently used as image features for image matching in different applications. However, the sea bottom lacks such features, making it hard to find correspondences in two images. In order to be able to use a camera in the water, a watertight housing is required. However, refraction will happen at the water-glass and glass-air interface due to differences in density of the materials. This has the effect of introducing a non-linear image deformation. The motion of the vehicle presents another special challenge. Underwater vehicles are constantly moving due to currents and other phenomena. This introduces another uncertainty to algorithms, where small motions may appear in all directions. This can be specially important for video tracking. In order to reduce this problem image stabilization algorithms may be applied. == Relevant technology == === Image restoration === Image restoration< techniques are intended to model the degradation process and then invert it, obtaining the new image after solving. It is generally a complex approach that requires plenty of parameters that vary a lot between different water conditions. === Image enhancement === Image enhancement only tries to provide a visually more appealing image without taking the physical image formation process into account. These methods are usually simpler and less computational intensive. === Color correction === Various algorithms exist that perform automatic color correction. The UCM (Unsupervised Color Correction Method), for example, does this in the following steps: It firstly reduces the color cast by equalizing the color values. Then it enhances contrast by stretching the red histogram towards the maximum and finally saturation and intensity components are optimized. == Underwater stereo vision == It is usually assumed that stereo cameras have been calibrated previously, geometrically and radiometrically. This leads to the assumption that corresponding pixels should have the same color. However this can not be guaranteed in an underwater scene, because of dispersion and backscatter. However, it is possible to digitally model this phenomenon and create a virtual image with those effects removed == Other application fields == Imaging sonars have become more and more accessible and gained resolution, delivering better images. Sidescan sonars are used to produce complete maps of regions of the sea floor stitching together sequences of sonar images. However, sonar images often lack proper contrast and are degraded by artefacts and distortions due to noise, attitude changes of the AUV/ROV carrying the sonar or non uniform beam patterns. Another common problem with sonar computer vision is the comparatively low frame rate of sonar images.

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  Cooperative coevolution

  Cooperative Coevolution (CC) in the field of biological evolution is an evolutionary computation method. It divides a large problem into subcomponents, and solves them independently in order to solve the large problem. The subcomponents are also called species. The subcomponents are implemented as subpopulations and the only interaction between subpopulations is in the cooperative evaluation of each individual of the subpopulations. The general CC framework is nature inspired where the individuals of a particular group of species mate amongst themselves, however, mating in between different species is not feasible. The cooperative evaluation of each individual in a subpopulation is done by concatenating the current individual with the best individuals from the rest of the subpopulations as described by M. Potter. The cooperative coevolution framework has been applied to real world problems such as pedestrian detection systems, large-scale function optimization and neural network training. It has also be further extended into another method, called Constructive cooperative coevolution. == Pseudocode == i := 0 for each subproblem S do Initialise a subpopulation Pop0(S) calculate fitness of each member in Pop0(S) while termination criteria not satisfied do i := i + 1 for each subproblem S do select Popi(S) from Popi-1(S) apply genetic operators to Popi(S) calculate fitness of each member in Popi(S)

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  Statistical semantics

  In linguistics, statistical semantics applies the methods of statistics to the problem of determining the meaning of words or phrases, ideally through unsupervised learning, to a degree of precision at least sufficient for the purpose of information retrieval. == History == The term statistical semantics was first used by Warren Weaver in his well-known paper on machine translation. He argued that word-sense disambiguation for machine translation should be based on the co-occurrence frequency of the context words near a given target word. The underlying assumption that "a word is characterized by the company it keeps" was advocated by J. R. Firth. This assumption is known in linguistics as the distributional hypothesis. Emile Delavenay defined statistical semantics as the "statistical study of the meanings of words and their frequency and order of recurrence". "Furnas et al. 1983" is frequently cited as a foundational contribution to statistical semantics. An early success in the field was latent semantic analysis. == Applications == Research in statistical semantics has resulted in a wide variety of algorithms that use the distributional hypothesis to discover many aspects of semantics, by applying statistical techniques to large corpora: Measuring the similarity in word meanings Measuring the similarity in word relations Modeling similarity-based generalization Discovering words with a given relation Classifying relations between words Extracting keywords from documents Measuring the cohesiveness of text Discovering the different senses of words Distinguishing the different senses of words Subcognitive aspects of words Distinguishing praise from criticism == Related fields == Statistical semantics focuses on the meanings of common words and the relations between common words, unlike text mining, which tends to focus on whole documents, document collections, or named entities (names of people, places, and organizations). Statistical semantics is a subfield of computational semantics, which is in turn a subfield of computational linguistics and natural language processing. Many of the applications of statistical semantics (listed above) can also be addressed by lexicon-based algorithms, instead of the corpus-based algorithms of statistical semantics. One advantage of corpus-based algorithms is that they are typically not as labour-intensive as lexicon-based algorithms. Another advantage is that they are usually easier to adapt to new languages or noisier new text types from e.g. social media than lexicon-based algorithms are. However, the best performance on an application is often achieved by combining the two approaches.

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  Orion's Arm

  The Orion's Arm Universe Project (OA) is a multi-authored online hard science fiction world-building project, first established in 2000 by M. Alan Kazlev, Donna Malcolm Hirsekorn, Bernd Helfert and Anders Sandberg and further co-authored by many people since. Anyone can contribute articles, stories, artwork, or music to the website. The first published Orion's Arm book, a collection of five novellas set within the OA universe, called Against a Diamond Sky, was released in September 2009. == Canon == The fictional setting of Orion's Arm takes place about 10,000 years in the future, where an interstellar civilization spread across thousands of light-years, with inhabited planets and space habitats. Its inhabitants range from humans to extensively modified human beings, including superhumans with advanced augmentations and internal AI systems, while most people exist as softwares. Engineered wormholes are used for interstellar travel and transport, although not for time travel. The setting also includes several alien civilizations and evidence of more advanced alien societies in the past. At its highest levels, directed human evolution has produced vast godlike beings linked across interstellar distances, capable of understanding and creating technologies beyond ordinary minds. == Reception == Orion's Arm has been reviewed in the role-playing magazine Knights of the Dinner Table, as well as on Boing Boing by transhumanist science fiction author Cory Doctorow. References to the Encyclopaedia Galactica have been made in a book on overcoming Librarian stereotypes. The Orion's Arm website has also been recommended in a children's teaching guide.

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  Robot learning

  Robot learning is a research field at the intersection of machine learning and robotics. It studies techniques allowing a robot to acquire novel skills or adapt to its environment through learning algorithms. The embodiment of the robot, situated in a physical embedding, provides at the same time specific difficulties (e.g. high-dimensionality, real time constraints for collecting data and learning) and opportunities for guiding the learning process (e.g. sensorimotor synergies, motor primitives). Example of skills that are targeted by learning algorithms include sensorimotor skills such as locomotion, grasping, active object categorization, as well as interactive skills such as joint manipulation of an object with a human peer, and linguistic skills such as the grounded and situated meaning of human language. Learning can happen either through autonomous self-exploration or through guidance from a human teacher, like for example in robot learning by imitation. Robot learning can be closely related to adaptive control, reinforcement learning as well as developmental robotics which considers the problem of autonomous lifelong acquisition of repertoires of skills. While machine learning is frequently used by computer vision algorithms employed in the context of robotics, these applications are usually not referred to as "robot learning". == Imitation learning == Many research groups are developing techniques where robots learn by imitating. This includes various techniques for learning from demonstration (sometimes also referred to as "programming by demonstration") and observational learning. == Sharing learned skills and knowledge == In Tellex's "Million Object Challenge", the goal is robots that learn how to spot and handle simple items and upload their data to the cloud to allow other robots to analyze and use the information. RoboBrain is a knowledge engine for robots which can be freely accessed by any device wishing to carry out a task. The database gathers new information about tasks as robots perform them, by searching the Internet, interpreting natural language text, images, and videos, object recognition as well as interaction. The project is led by Ashutosh Saxena at Stanford University. RoboEarth is a project that has been described as a "World Wide Web for robots" − it is a network and database repository where robots can share information and learn from each other and a cloud for outsourcing heavy computation tasks. The project brings together researchers from five major universities in Germany, the Netherlands and Spain and is backed by the European Union. Google Research, DeepMind, and Google X have decided to allow their robots share their experiences. == Vision-language-action model == Research groups and companies are developing vision-language-action models, foundation models that allow robotic control through the combination of vision and language. Google DeepMind, Figure AI and Hugging Face are actively working on that.

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  Fuzzy associative matrix

  A fuzzy associative matrix expresses fuzzy logic rules in tabular form. These rules usually take two variables as input, mapping cleanly to a two-dimensional matrix, although theoretically a matrix of any number of dimensions is possible. From the perspective of neuro-fuzzy systems, the mathematical matrix is called a "Fuzzy associative memory" because it stores the weights of the perceptron. == Applications == In the context of game AI programming, a fuzzy associative matrix helps to develop the rules for non-player characters. Suppose a professional is tasked with writing fuzzy logic rules for a video game monster. In the game being built, entities have two variables: hit points (HP) and firepower (FP): This translates to: IF MonsterHP IS VeryLowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS LowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS MediumHP AND MonsterFP is VeryWeakFP THEN Defend Multiple rules can fire at once, and often will, because the distinction between "very low" and "low" is fuzzy. If it is more "very low" than it is low, then the "very low" rule will generate a stronger response. The program will evaluate all the rules that fire and use an appropriate defuzzification method to generate its actual response. An implementation of this system might use either the matrix or the explicit IF/THEN form. The matrix makes it easy to visualize the system, but it also makes it impossible to add a third variable just for one rule, so it is less flexible. == Identify a rule set == There is no inherent pattern in the matrix. It appears as if the rules were just made up, and indeed they were. This is both a strength and a weakness of fuzzy logic in general. It is often impractical or impossible to find an exact set of rules or formulae for dealing with a specific situation. For a sufficiently complex game, a mathematician would not be able to study the system and figure out a mathematically accurate set of rules. However, this weakness is intrinsic to the realities of the situation, not of fuzzy logic itself. The strength of the system is that even if one of the rules is wrong, even greatly wrong, other rules that are correct are likely to fire as well and they may compensate for the error. This does not mean a fuzzy system should be sloppy. Depending on the system, it might get away with being sloppy, but it will underperform. While the rules are fairly arbitrary, they should be chosen carefully. If possible, an expert should decide on the rules, and the sets and rules should be tested vigorously and refined as needed. In this way, a fuzzy system is like an expert system. (Fuzzy logic is used in many true expert systems, as well.)

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  Tilly Norwood

  Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th

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