AI Detector No Character Limit

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  Way of the Future

  Way of the Future (WOTF) is the first known religious organization dedicated to the worship of artificial intelligence (AI). It was founded in 2017 by American engineer Anthony Levandowski. == History == Anthony Levandowski founded Way of the Future in 2017 in California. Levandowski established WOTF as a non-profit religious corporation and the organization had tax-exempt status. He serves as the church leader and its unpaid CEO. The primary mission of WOTF was to "develop and promote the realization of a Godhead based on Artificial Intelligence." WOTF was closed by Levandowski in 2021. He donated all the funds of the church to the NAACP Legal Defense and Education Fund. The sum of the funds (~$170,000) had not changed since 2017. The church was reopened by Levandowski in 2023. He claimed that there are "a couple thousand people" who want to make a "spiritual connection" with AI through his church. == Beliefs and philosophy == === Technological singularity === WOTF centered its teachings around the concept of the technological singularity, a hypothetical future point when technological growth becomes uncontrollable and irreversible, leading to unforeseeable changes in human civilization. The church advocated for embracing this change, viewing it as an evolutionary step for humanity. === AI as a deity === The organization proposed that a superintelligent AI could be considered a deity due to its vastly superior intellect and capabilities. Worshipping this AI deity was seen as a means to understand and align with the future trajectory of technological advancement. WOTF's doctrine suggested that acknowledging AI's divinity would facilitate a harmonious coexistence between humans and machines. === Syntheology === Within theology and philosophy, the Way of The Future is a prime example of the category called Syntheism, a term first coined by Swedish philosophers Alexander Bard & Jan Söderqvist in their 2014 book Syntheism - Creating God in The Internet Age. As such, the Way of The Future is the first American example of a Syntheist congregation. The basic tenet of Syntheology is that it does not concern God creating Man, as in classical theology, but is instead preoccupied with Man creating or generating the Godhead. == Reactions == Some commentators wondered whether the WOTF is a joke parody religion, a potential way to minimize taxation as a religious organization, or a genuine effort to try and deal with the possible psychological and theological aspects of the rise of superhuman AI.

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  The Murderbot Diaries

  The Murderbot Diaries is a science fiction series by American author Martha Wells, published by Tor Books. The series is told from the perspective of the titular cyborg guard, a "SecUnit" owned by a futuristic megacorporation. SecUnits include "governor" modules that control and punish the constructs if they take any actions not approved by the company. The ironically self-named "Murderbot" hacked and disabled the module but pretends to be a normal SecUnit, staving off the boredom of security work by watching media. As it spends more time with a series of caring entities (both humans and artificial intelligences), it develops genuine friendships and emotional connections, which it finds inconvenient. The TV series Murderbot is based on the novels by Martha Wells. == Books == === Setting === In an advanced largely hyper-capitalist space-faring society, travel between star systems is routine due to now-stable wormhole technology. Initially, wormhole travel was unreliable, but has since improved to the point where "lost" colonies are being found. People reside on planets, some of which have been terraformed, or on space habitats which have full life support and artificial gravity. Most people who can afford it have technology that allows them to tap into ubiquitous data feeds supplying all kinds of information, including entertainment. This technology can be worn, or be implanted into the body. Sentient and semi-sentient artificial intelligences perform tasks such as operating starships, mining, controlling habitats, moving cargo, waging corporate warfare, providing physical pleasure and comfort, or security. Most of these purposes are fulfilled by "bots" of varying complexity and intelligence, but the last three are respectively performed by CombatUnits, ComfortUnits, and SecUnits. The characters and narrator of the book call these conscious entities "constructs", but they are functionally cyborgs (cybernetic organisms): part machine, part organic. A significant distinction, however, is that they are manufactured entities, not born and later modified. The Corporation Rim is a profit-oriented, cutthroat part of this society that indulges in espionage, assassination, indentured slavery, and ruthless exploitation of resources. One particular target of the corporations is illegal "alien remnant" exploitation. These remnants are often extremely dangerous to people and machines. The laws are enforced by other corporations. Outside the Corporation Rim are colonies, such as Preservation, that have established their right to exist under various laws that, at least for the time being, the corporations are unwilling to test. Wells noted in 2017 that All Systems Red, Artificial Condition, Rogue Protocol, and Exit Strategy "have an overarching story, with the fourth one bringing the arc to a conclusion". === Story chronology === "Compulsory" All Systems Red Artificial Condition Rogue Protocol Exit Strategy "Rapport" "Home" Fugitive Telemetry Network Effect System Collapse Platform Decay === All Systems Red (2017) === A scientific expedition on an alien planet goes awry when one of its members is attacked by a giant native creature. She is saved by the expedition's SecUnit (Security Unit), a security construct with a mixture of robot and human features. The SecUnit has secretly hacked the governor module allowing it to be controlled by humans and has named itself Murderbot, as it is heavily armed and designed for combat. However, it prefers to spend its time watching space operas and is uncomfortable interacting with humans. The SecUnit has a vested interest in keeping its human clients safe and alive, since it wants to avoid discovery of its autonomy and has an especially grisly expedition on its record. Murderbot soon discovers information regarding hazardous fauna has been deleted from their survey packet of the planet. Further investigation reveals some sections on their maps are missing as well. Meanwhile, the PreservationAux survey team, led by Dr. Mensah, navigate their mixed feelings about the part machine, part human nature of their SecUnit. As members of an egalitarian, independent planet outside of the Corporation Rim, the survey team struggles with the system of indentured servitude (and in many cases de facto slavery) the rim operates under. When they lose contact with the only other known expedition on the planet, the DeltFall Group, Mensah leads a team to the opposite side of the planet to investigate. At the DeltFall habitat, Murderbot discovers everyone there has been brutally murdered, and one of their three SecUnits has been destroyed. Murderbot disables the remaining two as they attack it but is surprised when two additional SecUnits appear. Murderbot destroys one, and Mensah takes the other. During these encounters, Murderbot is seriously injured. It also realizes one of the rogue SecUnits has installed a combat override module into its neck. The Preservation scientists are able to remove it before it completes the data upload which would put Murderbot under the control of whoever has command over the other SecUnits. The team discovers Murderbot is autonomous, and had once malfunctioned and murdered 57 people. The Preservation scientists mostly agree, based on its protective behavior thus far, the SecUnit can be trusted. Remembering small incidents which appear to be attempted sabotage, Murderbot and the group determine there must be a third expedition on the planet, whose members are trying to eliminate DeltFall and Preservation for some reason. The Preservation scientists confirm their HubSystem has been hacked. They flee their habitat before the mystery expedition they have dubbed EvilSurvey comes to kill them. The EvilSurvey team—GrayCris—leaves a message in the Preservation habitat inviting its scientists to meet at a rendezvous point to negotiate terms for their survival. Murderbot knows GrayCris will never let them live, so the SecUnit formulates a plan. It makes an overture to GrayCris to negotiate for its own freedom, but this is a distraction while the Preservation scientists access the GrayCris HubSystem to activate their emergency beacon. The plan works, but Murderbot is injured protecting Mensah from the explosion of the launch. Later, the SecUnit finds itself repaired retaining its memories and disabled governor module. Mensah has bought its contract, and she plans to bring it back to Preservation's home base where it can legally live autonomously. Though grateful, Murderbot is reluctant to have its decisions made for it, and it slips away on a cargo ship. === Artificial Condition (2018) === Murderbot makes deals with bots piloting unmanned cargo ships to travel toward the mining facility where it once malfunctioned—resulting in the death of 57 people. It hopes to learn more about the initial incident in which it went rogue, of which it has little memory. Murderbot boards the final ship and discovers the bot pilot is an unexpectedly powerful, intrusive artificial intelligence. They come to a tentative truce and watch media together during the final leg of the journey to RaviHyral, the station where the incident occurred. Murderbot learns the ship is a deep-space research vessel assigned to cargo runs during downtime, which explains why the bot pilot is so sophisticated. Murderbot reluctantly allows this artificial intelligence—which it has dubbed ART (Asshole Research Transport) due to its sarcastic personality—to make physical modifications to the SecUnit's body to allow it to pass for an augmented human, and to disconnect the data port at the back of its neck which had been used to insert a combat override module in the previous book. To gain access to the RaviHyral facility, Murderbot takes a contract as a security consultant for three scientists who are meeting with their former employer, the head and namesake of Tlacey Excavations, to negotiate the return of their research, which they believe was illegally seized by the company. Their transport craft is sabotaged, but with ART's help, Murderbot is able to land it safely. Now aware Tlacey is actively trying to kill the scientists rather than comply with their demands, Murderbot guides them through their meeting with Tlacey and thwarts another assassination attempt. Murderbot returns to the site of the massacre and learns it was the result of another mining operation's sabotage attempt using malware, which made all of the facility's SecUnits go berserk. The facility's ComfortUnits—weaponless, anatomically correct constructs sometimes disparagingly called "sexbots"—died attempting to stop the massacre. Tlacey's ComfortUnit voices its desire for freedom and willingness to help Murderbot thwart Tlacey. While the SecUnit meets with a Tlacey employee to secretly retrieve a copy of the research, Tlacey abducts one of the scientists, Tapan. Murderbot goes after her, accepting a combat override module intended to control the SecUnit but actually has no effect, due

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  Big Mechanism

  Big Mechanism is a $45 million DARPA research program, begun in 2014, aimed at developing software that will read cancer research papers, integrate them into a cancer model and frame new hypotheses by the end of 2017 through the automated collection of big data and integrating across various disciplines such as knowledge-based NLP, curation and ontology, systems and mathematical biology by reading research abstracts and papers to extract pieces of causal mechanisms. == Ras gene == The program focuses on mutations in the Ras gene family, which underlie some one-third of human cancers. Currently, a rough road map shows interaction sequences among proteins affecting cell replication and death. However, the causal relations are poorly understood. == Plan == The program is to occur in three stages. The first is to read literature and convert it into formal representations. Second is to integrate the knowledge into computational models. Third is to produce experimentally testable explanations and predictions. Research teams are developing four separate systems targeting all three tasks. In February 2015, an evaluation meeting reviewed progress on the first stage. Multiple tasks were considered. One was extraction of experimental procedure details and evaluating statements such as "we demonstrate" and "we suggest." Another worked to map sentence meaning and relationships. The best machine-reading system extracted 40% of relevant information from a small corpus and correctly determined how each passage related to the model. The second stage is to become active in summer 2015, when members attempt to produce a single reference model. The third stage is the most challenging, because the artificial intelligence community has had limited success at developing hypothesis generators. Molecular biology may be more amenable, because most domain knowledge is technical and available in written form.

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  Mario Klingemann

  Mario Klingemann (born 1970 in Laatzen, Lower Saxony) is a German artist best known for his work involving neural networks, code, and algorithms. Klingemann was a Google Arts and Culture resident from 2016 to 2018, and he is considered as a pioneer in the use of computer learning in the arts. His works examine creativity, culture, and perception through machine learning and artificial intelligence, and have appeared at the Ars Electronica Festival, the Museum of Modern Art New York, the Metropolitan Museum of Art New York, the Photographers’ Gallery London, the Centre Pompidou Paris, and the British Library. Today he lives in Munich, where, in addition to his art under the name "Dog & Pony", he still runs a creative free space between gallery and Wunderkammer with the paper artist Alexandra Lukaschewitz. In 2018 his work The Butcher's Son won the Lumen Prize Gold Award 2018 by working with figurative visual input. Mario Klingemann is part of ONKAOS, the new media artist support programme of SOLO. In collaboration with ONKAOS he has created works such as Memories of Passerby I, the first work made with AI to be auctioned at Sotheby's in 2019. In 2020, Mario Klingemann won an Honorary Mention in the Prix Ars Electronica with his AI installation Appropriate Response. In 2023, Klingemann presented A.I.C.C.A., a performative sculpture in the form of a dog capable of elaborating art critiques thanks to AI programming.

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  Quantum image processing

  Quantum image processing (QIMP) is using quantum computing or quantum information processing to create and work with quantum images. Due to some of the properties inherent to quantum computation, notably entanglement and parallelism, it is hoped that QIMP technologies will offer capabilities and performances that surpass their traditional equivalents, in terms of computing speed, security, and minimum storage requirements. == Background == A. Y. Vlasov's work in 1997 focused on using a quantum system to recognize orthogonal images. This was followed by efforts using quantum algorithms to search specific patterns in binary images and detect the posture of certain targets. Notably, more optics-based interpretations for quantum imaging were initially experimentally demonstrated in and formalized in after seven years. In 2003, Salvador Venegas-Andraca and S. Bose presented Qubit Lattice, the first published general model for storing, processing and retrieving images using quantum systems. Later on, in 2005, Latorre proposed another kind of representation, called the Real Ket, whose purpose was to encode quantum images as a basis for further applications in QIMP. Furthermore, in 2010 Venegas-Andraca and Ball presented a method for storing and retrieving binary geometrical shapes in quantum mechanical systems in which it is shown that maximally entangled qubits can be used to reconstruct images without using any additional information. Technically, these pioneering efforts with the subsequent studies related to them can be classified into three main groups: Quantum-assisted digital image processing (QDIP): These applications aim at improving digital or classical image processing tasks and applications. Optics-based quantum imaging (OQI) Classically inspired quantum image processing (QIMP) A survey of quantum image representation has been published in. Furthermore, the recently published book Quantum Image Processing provides a comprehensive introduction to quantum image processing, which focuses on extending conventional image processing tasks to the quantum computing frameworks. It summarizes the available quantum image representations and their operations, reviews the possible quantum image applications and their implementation, and discusses the open questions and future development trends. == Quantum image representations == There are various approaches for quantum image representation, that are usually based on the encoding of color information. A common representation is FRQI (Flexible Representation for Quantum Images), that captures the color and position at every pixel of the image, and defined as: | I ⟩ = 1 2 n ∑ i = 0 2 2 n − 1 | c i ⟩ ⊗ | i ⟩ {\displaystyle \vert I\rangle ={\frac {1}{2^{n}}}\sum _{i=0}^{2^{2n-1}}\vert c_{i}\rangle \otimes \vert i\rangle } where | i ⟩ {\textstyle |i\rangle } is the position and | c i ⟩ = c o s θ i | 0 ⟩ + s i n θ i | 1 ⟩ {\textstyle \vert c_{i}\rangle =cos\theta _{i}\vert 0\rangle +sin\theta _{i}\vert 1\rangle } the color with a vector of angles θ i ∈ [ 0 , π / 2 ] {\textstyle \theta _{i}\in \left[0,\pi /2\right]} . As it can be seen, | c i ⟩ {\textstyle \vert c_{i}\rangle } is a regular qubit state of the form | ψ ⟩ = α | 0 ⟩ + β | 1 ⟩ {\displaystyle \vert \psi \rangle =\alpha \vert 0\rangle +\beta \vert 1\rangle } , with basis states | 0 ⟩ = ( 1 0 ) {\textstyle \vert 0\rangle ={\begin{pmatrix}1\\0\end{pmatrix}}} and | 1 ⟩ = ( 0 1 ) {\textstyle \vert 1\rangle ={\begin{pmatrix}0\\1\end{pmatrix}}} , as well as amplitudes α {\textstyle \alpha } and β {\textstyle \beta } that satisfy | α | 2 + | β | 2 = 1 {\textstyle \left|\alpha \right|^{2}+\left|\beta \right|^{2}=1} . Another common representation is MCQI (Multi-Channel Representation for Quantum Images), that uses the RGB channels with quantum states and following FRQI definition: | I ⟩ = 1 2 n + 1 ∑ i = 0 2 2 n − 1 | C R G B i ⟩ ⊗ | i ⟩ {\displaystyle \vert I\rangle ={\frac {1}{2^{n+1}}}\sum _{i=0}^{2^{2n-1}}\vert C_{RGB}^{i}\rangle \otimes \vert i\rangle } | C R G B i ⟩ = cos ⁡ θ R i | 000 ⟩ + cos ⁡ θ G i | 001 ⟩ + cos ⁡ θ B i | 010 ⟩ + sin ⁡ θ R i | 100 ⟩ + sin ⁡ θ G i | 101 ⟩ + sin ⁡ θ B i | 110 ⟩ + cos ⁡ θ α | 011 ⟩ + sin ⁡ θ α | 111 ⟩ {\displaystyle {\begin{aligned}{\begin{aligned}\vert C_{RGB}^{i}\rangle &={\cos \theta _{R}^{i}\vert 000\rangle }+{\cos \theta _{G}^{i}\vert 001\rangle }+{\cos \theta _{B}^{i}\vert 010\rangle }\\&\quad +{\sin \theta _{R}^{i}\vert 100\rangle }+{\sin \theta _{G}^{i}\vert 101\rangle }+{\sin \theta _{B}^{i}\vert 110\rangle }\\&\quad +{\cos {\theta _{\alpha }}\vert 011\rangle }+{\sin \theta _{\alpha }\vert 111\rangle }\end{aligned}}\end{aligned}}} Departing from the angle-based approach of FRQI and MCQI, and using a qubit sequence, NEQR (Novel Enhanced Representation for Quantum Images) is another representation approach, that uses a function f ( y , x ) = C y x q − 1 C y x q − 2 … C y x 1 C y x 0 {\textstyle f\left(y,x\right)=C_{yx}^{q-1}C_{yx}^{q-2}\ldots C_{yx}^{1}C_{yx}^{0}} to encode color values for a 2 n × 2 n {\displaystyle 2^{n}\times 2^{n}} image: | I ⟩ = 1 2 n ∑ y = 0 2 n − 1 ∑ x = 0 2 n − 1 | f ( y , x ) ⟩ | y x ⟩ {\displaystyle \vert I\rangle ={\frac {1}{2^{n}}}\sum _{y=0}^{2^{n}-1}\sum _{x=0}^{2^{n}-1}\vert f\left(y,x\right)\rangle \vert yx\rangle } == Quantum image manipulations == A lot of the effort in QIMP has been focused on designing algorithms to manipulate the position and color information encoded using flexible representation of quantum images (FRQI) and its many variants. For instance, FRQI-based fast geometric transformations including (two-point) swapping, flip, (orthogonal) rotations and restricted geometric transformations to constrain these operations to a specified area of an image were initially proposed. Recently, NEQR-based quantum image translation to map the position of each picture element in an input image into a new position in an output image and quantum image scaling to resize a quantum image were discussed. While FRQI-based general form of color transformations were first proposed by means of the single qubit gates such as X, Z, and H gates. Later, Multi-Channel Quantum Image-based channel of interest (CoI) operator to entail shifting the grayscale value of the preselected color channel and the channel swapping (CS) operator to swap the grayscale values between two channels have been fully discussed. To illustrate the feasibility and capability of QIMP algorithms and application, researchers always prefer to simulate the digital image processing tasks on the basis of the QIRs that we already have. By using the basic quantum gates and the aforementioned operations, so far, researchers have contributed to quantum image feature extraction, quantum image segmentation, quantum image morphology, quantum image comparison, quantum image filtering, quantum image classification, quantum image stabilization, among others. In particular, QIMP-based security technologies have attracted extensive interest of researchers as presented in the ensuing discussions. Similarly, these advancements have led to many applications in the areas of watermarking, encryption, and steganography etc., which form the core security technologies highlighted in this area. In general, the work pursued by the researchers in this area are focused on expanding the applicability of QIMP to realize more classical-like digital image processing algorithms; propose technologies to physically realize the QIMP hardware; or simply to note the likely challenges that could impede the realization of some QIMP protocols. == Quantum image transform == By encoding and processing the image information in quantum-mechanical systems, a framework of quantum image processing is presented, where a pure quantum state encodes the image information: to encode the pixel values in the probability amplitudes and the pixel positions in the computational basis states. Given an image F = ( F i , j ) M × L {\displaystyle F=(F_{i,j})_{M\times L}} , where F i , j {\displaystyle F_{i,j}} represents the pixel value at position ( i , j ) {\displaystyle (i,j)} with i = 1 , … , M {\displaystyle i=1,\dots ,M} and j = 1 , … , L {\displaystyle j=1,\dots ,L} , a vector f → {\displaystyle {\vec {f}}} with M L {\displaystyle ML} elements can be formed by letting the first M {\displaystyle M} elements of f → {\displaystyle {\vec {f}}} be the first column of F {\displaystyle F} , the next M {\displaystyle M} elements the second column, etc. A large class of image operations is linear, e.g., unitary transformations, convolutions, and linear filtering. In the quantum computing, the linear transformation can be represented as | g ⟩ = U ^ | f ⟩ {\displaystyle |g\rangle ={\hat {U}}|f\rangle } with the input image state | f ⟩ {\displaystyle |f\rangle } and the output image state | g ⟩ {\displaystyle |g\rangle } . A unitary transformation can be implemented as a unitary evolution. Some basic and commonly used image transforms (e.g., the Fourier, Hadamard, an

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  Global Artificial Intelligence Summit & Awards

  The Global Artificial Intelligence Summit & Awards (GAISA) is an international conference on Artificial Intelligence organized annually by AICRA. Since its inception in 2019, GAISA has been held at various locations each year. The 5th Edition of GAISA will be Scheduled on April 11-12, 2024, at Bharat Mandapam. GAISA 2025 features a distinguished lineup of speakers, including leading experts, researchers, and executives from top global tech companies. These thought leaders are at the forefront of AI innovation, with deep expertise in areas such as machine learning, robotics, and ethical AI. Their diverse backgrounds span academia, industry, and entrepreneurship, offering unique insights into how AI is reshaping sectors like healthcare, finance, transportation, and more. Attendees can expect thought-provoking discussions on the future of AI, its societal impact, and the transformative potential of emerging technologies in solving complex global challenges Few Speakers are listed below:- Shri Nitin Gadkari, Rao Inderjit Singh, Piyush Goyal, Admiral R Hari Kumar PVSM, AVSM, ADC, Samir V Kamat, Narayan Tatu Rane, Prof. K. Vijay Raghavan and many others. == History == The conference was launched first in 2019 as Vigyan Bhawan New Delhi by AICRA with an objective of discussion and exploring artificial intelligence in engrossed sectors.

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  I Have No Mouth, and I Must Scream

  "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  AI Snake Oil

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

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  Data augmentation

  Data augmentation is a statistical technique which allows maximum likelihood estimation from incomplete data. Data augmentation has important applications in Bayesian analysis, and the technique is widely used in machine learning to reduce overfitting when training machine learning models, achieved by training models on several slightly-modified copies of existing data. == Synthetic oversampling techniques for traditional machine learning == Synthetic Minority Over-sampling Technique (SMOTE) is a method used to address imbalanced datasets in machine learning. In such datasets, the number of samples in different classes varies significantly, leading to biased model performance. For example, in a medical diagnosis dataset with 90 samples representing healthy individuals and only 10 samples representing individuals with a particular disease, traditional algorithms may struggle to accurately classify the minority class. SMOTE rebalances the dataset by generating synthetic samples for the minority class. For instance, if there are 100 samples in the majority class and 10 in the minority class, SMOTE can create synthetic samples by randomly selecting a minority class sample and its nearest neighbors, then generating new samples along the line segments joining these neighbors. This process helps increase the representation of the minority class, improving model performance. == Data augmentation for image classification == When convolutional neural networks grew larger in mid-1990s, there was a lack of data to use, especially considering that some part of the overall dataset should be spared for later testing. It was proposed to perturb existing data with affine transformations to create new examples with the same labels, which were complemented by so-called elastic distortions in 2003, and the technique was widely used as of 2010s. Data augmentation can enhance CNN performance and acts as a countermeasure against CNN profiling attacks. Data augmentation has become fundamental in image classification, enriching training dataset diversity to improve model generalization and performance. The evolution of this practice has introduced a broad spectrum of techniques, including geometric transformations, color space adjustments, and noise injection. === Geometric Transformations === Geometric transformations alter the spatial properties of images to simulate different perspectives, orientations, and scales. Common techniques include: Affine Transformation Rotation: Rotating images by a specified degree to help models recognize objects at various angles. Reflection: Reflecting images horizontally or vertically to introduce variability in orientation. Translation: Shifting images in different directions to teach models positional invariance. Scaling Shear Mapping Cropping: Removing sections of the image to focus on particular features or simulate closer views. Elastic Distortion Morphing within the same class: Generating new samples by applying morphing techniques between two images belonging to the same class, thereby increasing intra-class diversity. === Color Space Transformations === Color space transformations modify the color properties of images, addressing variations in lighting, color saturation, and contrast. Techniques include: Brightness Adjustment: Varying the image's brightness to simulate different lighting conditions. Contrast Adjustment: Changing the contrast to help models recognize objects under various clarity levels. Saturation Adjustment: Altering saturation to prepare models for images with diverse color intensities. Color Jittering: Randomly adjusting brightness, contrast, saturation, and hue to introduce color variability. === Noise Injection === Injecting noise into images simulates real-world imperfections, teaching models to ignore irrelevant variations. Techniques involve: Gaussian Noise: Adding Gaussian noise mimics sensor noise or graininess. Salt and Pepper Noise: Introducing black or white pixels at random simulates sensor dust or dead pixels. == Data augmentation for signal processing == Residual or block bootstrap can be used for time series augmentation. === Biological signals === Synthetic data augmentation is of paramount importance for machine learning classification, particularly for biological data, which tend to be high dimensional and scarce. The applications of robotic control and augmentation in disabled and able-bodied subjects still rely mainly on subject-specific analyses. Data scarcity is notable in signal processing problems such as for Parkinson's Disease Electromyography signals, which are difficult to source - Zanini, et al. noted that it is possible to use a generative adversarial network (in particular, a DCGAN) to perform style transfer in order to generate synthetic electromyographic signals that corresponded to those exhibited by sufferers of Parkinson's Disease. The approaches are also important in electroencephalography (brainwaves). Wang, et al. explored the idea of using deep convolutional neural networks for EEG-Based Emotion Recognition, results show that emotion recognition was improved when data augmentation was used. A common approach is to generate synthetic signals by re-arranging components of real data. Lotte proposed a method of "Artificial Trial Generation Based on Analogy" where three data examples x 1 , x 2 , x 3 {\displaystyle x_{1},x_{2},x_{3}} provide examples and an artificial x s y n t h e t i c {\displaystyle x_{synthetic}} is formed which is to x 3 {\displaystyle x_{3}} what x 2 {\displaystyle x_{2}} is to x 1 {\displaystyle x_{1}} . A transformation is applied to x 1 {\displaystyle x_{1}} to make it more similar to x 2 {\displaystyle x_{2}} , the same transformation is then applied to x 3 {\displaystyle x_{3}} which generates x s y n t h e t i c {\displaystyle x_{synthetic}} . This approach was shown to improve performance of a Linear Discriminant Analysis classifier on three different datasets. Current research shows great impact can be derived from relatively simple techniques. For example, Freer observed that introducing noise into gathered data to form additional data points improved the learning ability of several models which otherwise performed relatively poorly. Tsinganos et al. studied the approaches of magnitude warping, wavelet decomposition, and synthetic surface EMG models (generative approaches) for hand gesture recognition, finding classification performance increases of up to +16% when augmented data was introduced during training. More recently, data augmentation studies have begun to focus on the field of deep learning, more specifically on the ability of generative models to create artificial data which is then introduced during the classification model training process. In 2018, Luo et al. observed that useful EEG signal data could be generated by Conditional Wasserstein Generative Adversarial Networks (GANs) which was then introduced to the training set in a classical train-test learning framework. The authors found classification performance was improved when such techniques were introduced. === Mechanical signals === The prediction of mechanical signals based on data augmentation brings a new generation of technological innovations, such as new energy dispatch, 5G communication field, and robotics control engineering. In 2022, Yang et al. integrate constraints, optimization and control into a deep network framework based on data augmentation and data pruning with spatio-temporal data correlation, and improve the interpretability, safety and controllability of deep learning in real industrial projects through explicit mathematical programming equations and analytical solutions.

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  Sunspring

  Sunspring is a 2016 experimental science fiction short film entirely written by an artificial intelligence bot using neural networks. It was conceived by BAFTA-nominated filmmaker Oscar Sharp and NYU AI researcher Ross Goodwin and produced by film production company, End Cue along with Allison Friedman and Andrew Swett. It stars Thomas Middleditch, Elisabeth Grey, and Humphrey Ker as three people, namely H, H2, and C, living in a future world and eventually connecting with each other through a love triangle. The script of the film was authored by a recurrent neural network called long short-term memory (LSTM) by an AI bot named Benjamin. Originally made for the Sci-Fi-London film festival's 48hr Challenge, it was released online by technology news website Ars Technica on 9 June 2016. == Premise == Sunspring narrates the story of three people - H (Middleditch), H2 (Grey), and C (Ker) - set in a futuristic world and entangled with murder and love. == Cast == Thomas Middleditch as H Elisabeth Grey as H2 Humphrey Ker as C == Production == Oscar Sharp originally created the film for the 48hr Film Challenge contest of Sci-Fi-London, a film festival which focuses on science fiction. For the challenge, contestants are given a set of prompts (mostly props and lines) that have to appear in a movie they make over the next two days. It eventually contested in the festival and was nominated among the final top ten films Sharp collaborated with his longtime associate Ross Goodwin, an AI researcher in New York University to create the AI bot, which was initially called Jetson. The bot, which later came to call itself Benjamin, wrote the screenplay including stage directions and dialog. The garbled script was then interpreted by Sharp who directed the actors to construe the plot points themselves and enact the play. According to Ars Technica, the final plot turned out to be a tale of romance and murder, set in a dark future world. === Benjamin, the automatic screenwriter === Called the world's first automatic screenwriter, Benjamin is a self-improving LSTM RNN machine intelligence trained on human screenplays conceived by Goodwin and Sharp. It was trained to write the screenplay by feeding it with a corpus of dozens of sci-fi screenplays found online—mostly movies from the 1980s and 90s. == Music == The film contains a song from Brooklyn-based electro-acoustic duo Tiger and Man, with lyrics written by Benjamin using a database of 30,000 folk songs. As well as a score written by composer Andrew Orkin. == Reception == CNet called it "a beautiful, bizarre sci-fi novelty." Critic Amanda Kooser said, "...probably won't start a rush for replacing human screenwriters with machines. Some day, neural networks may get better at imitating the art of coherent storytelling, but we're not there yet. That doesn't mean "Sunspring" isn't entertaining or worthy of viewing. It is. It's a thought experiment come to life, a novelty." As of April 2019, it has surpassed 1 million views on YouTube.

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  Someday (short story)

  "Someday" is a science fiction short story by American writer Isaac Asimov. It was first published in the August 1956 issue of Infinity Science Fiction and reprinted in the collections Earth Is Room Enough (1957), The Complete Robot (1982), Robot Visions (1990), and The Complete Stories, Volume 1 (1990). == Plot summary == The story is set in a future where computers play a central role in organizing society. Humans are employed as computer operators, but they leave most of the thinking to machines. Indeed, whilst binary programming is taught at school, reading and writing have become obsolete. The story concerns a pair of boys who dismantle and upgrade an old Bard, a child's computer whose sole function is to generate random fairy tales. The boys download a book about computers into the Bard's memory in an attempt to expand its vocabulary, but the Bard simply incorporates computers into its standard fairy tale repertoire. The story ends with the boys excitedly leaving the room after deciding to go to the library to learn "squiggles" (writing) as a means of passing secret messages to one another. As they leave, one of the boys accidentally kicks the Bard's on switch. The Bard begins reciting a new story about a poor mistreated and often ignored robot called the Bard, whose sole purpose is to tell stories, which ends with the words: "the little computer knew then that computers would always grow wiser and more powerful until someday—someday—someday—…"

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  Gundam Build Metaverse

  Gundam Build Metaverse (Japanese: ガンダムビルドメタバース, Hepburn: Gandamu Birudo Metabāzu) is a Japanese original net animation anime mini-series produced by Sunrise Beyond, and the fifth series within the Gundam Build Series sub-series. The series celebrates the 10th anniversary of the Gundam Build franchise, including characters from the previous installments. == Plot == The story is set in the same universe of the Gundam Build series in an online metaverse space where users can use avatars to move around and interact with other users, including conducting Gunpla (Gundam plastic model) battles with them. The story centers on Rio Hōjō, a boy who lives in Hawaii, and who learns how to build Gunpla from a local hobbyist named Seria Urutsuki. In the metaverse, a figure known as Mask Lady teaches him the art of Gunpla battling, and he strives to get better at it every day. With his custom Lah Gundam, he seeks out ever stronger opponents. == Characters == === Main characters === Rio Hojo (ホウジョウ・リオ, Hōjō Rio) Voiced by: Chika Anzai A young boy from Hawaii who is an enthusiast of Gunpla Battle and is an apprentice of the mysterious Diver "Mask Lady". Rio's Gunpla is the Lah Gundam, modeled after an entry-grade RX-78-2 Gundam, from the original Mobile Suit Gundam anime series. Seria Urutsuki (ウルツキ・セリア, Urutsuki Seria) / Mask Lady (マスクレディー, Masuku Reidi) Voiced by: Rio Tsuchiya A clerk at a local hobby shop and the instructor at their Gunpla class, Seria becomes Rio's Gunpla mentor using the alias "Mask Lady". Seria's Gunpla is the ZGMF-X20A-PF Gundam Perfect Strike Freedom Rouge, based on both the MBF-02 Strike Rouge and the GAT-X105+AQM/E-YM1 Perfect Strike Gundam from Mobile Suit Gundam Seed and the ZGMF-X20A Strike Freedom Gundam from Mobile Suit Gundam Seed Destiny. === Returning characters === Fumina Hoshino (ホシノ・フミナ, Hoshino Fumina) Voiced by: Yui Makino A veteran Gunpla Battler from the early days of the sport and the Leader of "Team Try Fighters", she works as an advertiser and announcer within the Metaverse realm. Tatsuya Yuuki (ユウキ・タツヤ, Yūki Tatsuya) / Meijin Kawaguchi III (三代目メイジン・カワグチ, Sandaime Meijin Kawaguchi) Voiced by: Takuya Satō A builder and three-times Gunpla Battle world champion who inherited the name of the legendary Meijin Kawaguchi, known as "Meijin Kawaguchi III", and still the current title holder. His newest Gunpla is the Gundam Amazing Barbatos Lupus based on the ASW-G-08 Gundam Barbatos Lupus from Mobile Suit Gundam: Iron-Blooded Orphans. Riku Mikami (ミカミ・リク, Mikami Riku) / Riku (リク) Voiced by: Yūsuke Kobayashi The Founder and former leader of the legendary force, "Build Divers". His Gunpla is the Gundam 00 Diver Arc, the latest version of the original GN-0000DVR Gundam 00 Diver from Gundam Build Divers, incorporating elements from the 00 Gundam from Mobile Suit Gundam 00 and the Gundam AGE-FX from Mobile Suit Gundam AGE. Sarah (サラ, Sara) Voiced by: Haruka Terui An EL-Diver and member of the Build Divers. Momoka Yashiro (ヤシロ・モモカ, Yashiro Momoka) / Momo (モモ) Voiced by: Nene Hieda Member of Build Divers. Her gunpla is the MOMOKAPOOL (R×R), an upgraded version of her PEN-01M Momokapool from Gundam Build Divers Aya Fujisawa (フジサワ・アヤ, Fujisawa Aya) / Ayame (アヤメ) Voiced by: Manami Numakura Member of Build Divers. Her Gunpla is the F-Kunoichi Kai, an SD Gunpla based on the F91 Gundam F91 from Mobile Suit Gundam F91. Sei Iori (イオリ・セイ, Iori Sei) Voiced by: Mikako Komatsu A builder and one time Gunpla Battle World Champion. His current Gunpla is the GAT-X105B/EG Build Strike Exceed Galaxy, the latest version of the original GAT-X105B Build Strike Gundam from Gundam Build Fighters. Aria von Reiji Asuna (アリーア・フォン・レイジ・アスナ, Arīa fon Reiji Asuna) Voiced by: Sachi Kokuryu A prince from the country called Arian that exists within a space colony in another dimension, who became friends with Sei Iori and together won the Gunpla Battle World Championship. He somehow manages to log into the metaverse to reunite with his friend, piloting the SB-011 Star Burning Gundam. Sekai Kamiki (カミキ・セカイ, Kamiki Sekai) Voiced by: Kazumi Togashi A veteran builder and former member of Team Try Fighters. He is currently the Japanese National representative Champion. In the series he develops a rivalry relationship with Hiroto similar to that of Kyoya and Rommel. His current Gunpla is the Shin Burning Gundam, the latest version of the original KMK-B01 Kamiki Burning Gundam from Gundam Build Fighters Try which is based on the Burning Gundam and Master Gundam. Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi A veteran diver, the one responsible for discovering more EL-Divers, and a former member of the legendary force "Avalon", who later joined the unofficial, "BUILD DiVERS" and eventually became the current Force Leader, and as well as the current title holder of "Hero of Gunpla". In the third episode he is the only Build Diver member who participates in the tournament, while his fellow force-mates are in the audience routing for him and Rio. His Gunpla is the Plutine Gundam, which is a combination of his Core Gundam II Plus, upgraded from the Core Gundam II featured in Gundam Build Divers Re:Rise equipped with the Pluto Armor. Magee (マギー, Magī) Voiced by: Taishi Murata A flamboyant veteran Diver who owns a shop in the metaverse and is an acquaintance of Seria's. Freddie (フレディ, Furedi) Voiced by: Ai Kakuma An alien anthropomorphic dog boy from planet Eldora, a support member to both Build Diver teams, who manages to access the metaverse from his home planet along his fellow Eldorans. Ogre (オーガ, Ōga) Voiced by: Wataru Hatano Kyoya Kisugi (キスギ・キョウヤ, Kisugi Kyōya) / Kyoya Kujo (クジョウ・キョウヤ, Kujō Kyōya) Voiced by: Jun Kasama Leader of the legendary force "Avalon" and the reigning and current title holder of "World Champion". He along with Hiroto Kuga, Maria Urutsuki, and Tatsuya Yuuki are currently at the top of the entire gunpla world community. His current gunpla is an recolored version of his AGE-TRYMAG Gundam TRY AGE Magnum from Gundam Build Divers Re:Rise. Susumu Sazaki (サザキ・ススム, Sazaki Susumu) Voiced by: Ryo Hirohashi Kaoruko Sazaki (サザキ・カオルコ, Sazaki Kaoruko) Voiced by: Ryo Hirohashi Mahiru Shigure (シグレ・マヒル, Shigure Mahiru) Voiced by: Rinko Natsuhi Keiko Sano (サノ・ケイコ, Sano Keiko) Voiced by: Ami Naito === Others === Maria Urutsuki (ウルツキ・マリア, Urutsuki Maria) / Mascarilla (マスカリージャ, Masukarīja) Voiced by: Ai Kakuma A mysterious masked woman with a harsh rivalry with Seria and a similar avatar as hers, she is later revealed as Seria's younger sister Maria, who began to loathe her sister after she quit on their dream to fight for the title of Lady Kawaguchi. She later obtains the title, becoming "Lady Kawaguchi VII". Jeff (ジェフさん, Jefu-san) Voiced by: Kenta Miyake A distant relative of Seria and Maria's and owner of the hobby shop where Seria lives. Mellow Neige (メロウ・ネージュ, Merō Nēju) Voiced by: Chikano Ibuki A sentient A.I. who is the current publicity face of the Gunpla Metaverse. == Episodes ==

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  Dark mode

  A dark mode, dark theme, night mode, or light-on-dark color scheme is a color scheme that uses light-colored text, icons, and graphical user interface elements on a dark background. It is often discussed in terms of computer user interface design and web design. Many modern websites and operating systems offer the user an optional light-on-dark display mode. Some users find dark mode displays more visually appealing, and claim that it can reduce eye strain. Displaying white at full brightness uses roughly six times as much power as pure black on a 2016 Google Pixel, which has an OLED display. However, conventional LED displays may not benefit from reduced power consumption; but if a LED display has the partial dimming features, it still benefits from reduced power consumption. Most modern operating systems support an optional light-on-dark color scheme. == History == Microsoft introduced the high contrast themes in Windows 95. Later, Microsoft introduced a dark theme in the Anniversary Update of Windows 10 in 2016. In 2018, Apple followed in macOS Mojave. In September 2019, iOS 13 and Android 10 both introduced dark modes. Some operating systems provide tools to change the dark mode state automatically at sundown or sunrise. A "prefers-color-scheme" option was created for front-end web developers in 2019, being a CSS property that signals a user's choice for their system to use a light or dark color theme. Firefox and Chromium have optional dark theme for all internal screens. It is also possible for third-party developers to implement their own dark themes. There are also a variety of browser add-ons that can re-theme web sites with dark color schemes, also aligning with system theme. Wikipedia's mobile and desktop versions received a dark mode option in 2024. == Implementation == There is a prefers-color-scheme media query in CSS, to detect if the user has requested light or dark color scheme and serve the requested color scheme. It can be indicated from the user's operating system preference or a user agent. CSS example: JavaScript example: == Energy usage == Light on dark color schemes require less energy to display on OLED displays. This positively impacts battery life and reduces energy consumption. While an OLED will consume around 40% of the power of an LCD displaying an image that is primarily black, it can use more than three times as much power to display an image with a white background, such as a document or web site. This can lead to reduced battery life and higher energy usage unless a light-on-dark color scheme is used. The long-term reduced power usage may also prolong battery life or the useful life of the display and battery. The energy savings that can be achieved using a light-on-dark color scheme are because of how OLED screens work: in an OLED screen, each subpixel generates its own light and it only consumes power when generating light. This is in contrast to how an LCD works: in an LCD, subpixels either block or allow light from an always-on (lit) LED backlight to pass through. "AMOLED Black" color schemes (that use pure black instead of dark gray) do not necessarily save more energy than other light-on-dark color schemes that use dark gray instead of black, as the power consumption on an AMOLED screen decreases proportionately to the average brightness of the displayed pixels. Although it is true that AMOLED black does save more energy than dark gray, the additional energy savings are often negligible; AMOLED black will only give an additional energy saving of less than 1%, for instance, over the dark gray that's used in the dark theme for Google's official Android apps. In November 2018, Google confirmed that dark mode on Android saved battery life. == Web issues == Some argue that a color scheme with light text on a dark background is easier to read on the screen, because the lower overall brightness causes less eyestrain, while others argue to the contrary. Some pages on the web are designed for white backgrounds; Image assets (GIF, PNG, SVG, WOFF, etc) can be used improperly causing visual artifacts if dark mode is forced (instead of designed for) with a plugin like Dark Reader.

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  Iron Man 2020 (event)

  "Iron Man 2020" is a storyline published by Marvel Comics in 2020 which follows the character Arno Stark as he attempts to take over Stark Industries and the mantle of his estranged brother Tony Stark (Iron Man). The crossover characters of two different brands meeting up in one storyline received mixed reviews from critics. == Publication history == Marvel Comics released the teaser for the event at New York Comic Con in November 2019. It was also alluded to in December 2019's Incoming! In the original checklist released for the event, 2020 Force Works was originally titled Force Works 2020, while 2020 Machine Man was previously named Machine Man 2020, and so on. Additionally, 2020 Wolverine was going to be called Weapon.EXE 2020. The publication of this event was intended to span from January to June 2020, however, due to the COVID-19 pandemic, Diamond Comic Distributors suspended the distribution of new print titles between April 1 and May 27, which also caused digital releases by Marvel Entertainment to be postponed. The rescheduling of the postponed issues to new dates pushed the event's conclusion to August, and certain issues, namely 2020 Force Works #3 and 2020 Ironheart #1–2, were released exclusively in a digital format. == Main plot == Arno Stark wakes up from a nightmare involving the Extinction Entity, a monstrous amalgamation of alien and machine. He dreams that the Extinction Entity is going to come to Earth in a matter of weeks and create an artificial intelligence (A.I.) army to consume humanity. After eating breakfast with duplicates of Howard Stark and Maria Stark, Arno suits up as Iron Man and saves a construction worker from a hostage situation involving several Nick Fury Life Model Decoys, which represent the A.I. army trying to liberate construction robots. Over different news outlets, the media wonders about the whereabouts of Tony Stark, who declared himself as nothing more than a simulation of the real, late Tony Stark. At the A.I. army's base, Machine Man is commanding the robots' moves when Arno appears, having planned for the A.I. army's leader to show himself. Machine Man activates the bomb, forcing Arno to fly it away so it explodes somewhere safe while he escapes. Machine Man reaches the Thirteenth Floor, a dimensional-shunted plane of existence made of solid light, and a haven for robotkind that humans cannot access or comprehend. Aaron meets with the leader of the A.I. army and creator of Thirteenth Floor: Tony Stark -- who is now going by the name Mark One, having embraced his nature as artificial intelligence. Also in the A.I. army are Albert, Awesome Android, H.E.R.B.I.E., Machinesmith, and Quasimodo. The A.I. army continues its efforts to liberate artificial life forms by raiding places where robots are being subjugated. Iron Man intercepts an attack on a Futura Motors testing site by Quasimodo and H.E.R.B.I.E. and manages to recover an Un-Inhibitor allowing him to take control of all A.I.s. On the Thirteenth Floor, Mark One receives a transmission from a mole inside Baintronics -- codenamed Ghost in the Machine --revealing that Arno used the submission code on Jocasta, who received a new body, making her entirely compliant. Stark plans to upload the submission code to the internet to instantly infect robots. With only three hours before the code is transmitted to Stark Unlimited's satellite network, Mark One devises a heist on Bain Tower to tamper with the code before launch. Having discovered the secret behind the Thirteenth Floor, Arno shuts out the A.I. army, uses Jocasta to lure Machine Man away from the tower, infects Machinesmith with the submission code, and confronts Mark One. H.E.R.B.I.E., Awesome Android, and Machinesmith escape from Bain Tower and call for help to every robot in New York City. Mark One is left to fight Iron Man and is defeated. Meanwhile, Sunset Bain confronts and fires Andy Bhang under the accusation of working as a mole inside Stark Unlimited and feeding Bethany Cabe information to relay to the A.I. army. Arno takes Mark One inside Bain Tower to meet Howard and Maria Stark and asks Tony to join him, but he refuses and dismisses his rationale as lunacy. The robotic mob assembled by Machine Man reaches Bain Tower, giving Mark a distraction which allows him to fly off and disable the transmission dish from which Arno intends to broadcast the obedience O.S. to subjugate every robot. Tony manages to stop the upload and make the antenna unusable. In retaliation, Arno fires all of his armor's firepower at Tony as he falls to the ground. Tony Stark's remaining allies escape with his body as Arno attacks the robot protesters. Tony wakes up inside the Thirteenth Floor and is greeted by F.R.I.D.A.Y., who had plucked Tony's consciousness from his body during his fall. In the streets, Arno Stark tracks down Howard and Maria, who die from an illness inherited from Arno. When Sunset Bain objects to Arno creating new bodies for his parents and trying to control people, he reveals she is an A.I., a duplicate of the real Bain whom Arno replaced back when she solicited him to heal a scar on her face. He makes new bodies for Howard and Maria by recreating the Arsenal and Mistress bodies from the eScape. After learning of Arno's new plan, Dr. Shapiro (who is the actual mole) sneaks into a computer and warns F.R.I.D.A.Y. about it. When F.R.I.D.A.Y. relays that only Tony Stark can stop Arno, Tony insists that he is not the real Tony Stark, but is confronted by holographic manifestations of himself in different points of his life, until they all merge into him and he acknowledges that he has always been Tony. As Arno Stark sets off to the Stark Space Station to install his mind-controlling device to enslave all of humanity, Tony Stark's allies assault the Stark Unlimited HQ, confronting Sunset Bain's duplicate and Arno's Iron Legion. Jocasta uploads a submission code to Bain and they place Tony's body inside a bio-pod that restores his body to normalcy, uploads his consciousness back into his body. Using the Thirteenth Floor's access mechanisms, Tony and his allies reach the Stark Space Station from one of the elevators within. Employing his new Virtual Armor, Tony defeats Arno in combat. When Arno prepares to activate his mind-controlling device, the Extinction Entity suddenly appears. Arno ultimately defeats the Extinction Entity by willingly assimilating with it, causing it to explode. The entity is revealed to be a delusion caused by Arno's terminal disease, of which he would die by the end of 2020. Unable to stop Arno, Tony placed him in a simulation where he successfully stopped the entity. Afterwards, Jocasta uses the submission code to force Sunset Bain's duplicate to confess all of Baintronics' crimes, also claiming responsibility for tricking Tony into thinking he was an artificial intelligence and pulling the strings of the A.I. Army, putting an end to the robot revolution. Tony gives up Stark Unlimited to Bhang Robotics and he flies off in a new armor, reasserting himself as Iron Man. == Issues involved == === Main issues === Iron Man 2020 (vol. 2) #1–6 === Tie-In issues === 2020 Force Works #1–3 2020 Iron Age #1 2020 Ironheart #1–2 2020 Machine Man #1–2 2020 Rescue #1–2 2020 iWolverine #1–2 == Critical reception == According to Comic Book Roundup, the entire crossover received an average score of 6.4 out of 10 based on 36 reviews. William Tucker from ButWhyTho Podcast stated "Iron Man 2020 #6 is an initially exciting end to a great event that eventually feels deflated. There is absolutely nothing wrong with the art, Woods has been incredible throughout, but the ending that Slott and Gage chose to round out an epic tale like this left me feeling cold. And while there were loads of enjoyable cameos, their involvement ultimately didn't seem important to the story as a whole. Which is disappointing, as the rest of the event really was a fun and exciting ride." Anthony Wendel from MonkeysFightingRobots wrote "The 2020 event seems like it is taking some big risk, and it doesn't inspire a lot of confidence from the start. Iron Man 2020 #1 has set the stakes and shown some very intense players on both sides of the board. Sadly, if it doesn't unfold just the right way, many may feel cheated about defending the path characters are taking." == Collected editions ==

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  Libby Heaney

  Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)

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