AI Detector Xero

AI Detector Xero — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Autonomic networking

    Autonomic networking

    Autonomic networking follows the concept of Autonomic Computing, an initiative started by IBM in 2001. Its ultimate aim is to create self-managing networks to overcome the rapidly growing complexity of the Internet and other networks and to enable their further growth, far beyond the size of today. == Increasing size and complexity == The ever-growing management complexity of the Internet caused by its rapid growth is seen by some experts as a major problem that limits its usability in the future. What's more, increasingly popular smartphones, PDAs, networked audio and video equipment, and game consoles need to be interconnected. Pervasive Computing not only adds features, but also burdens existing networking infrastructure with more and more tasks that sooner or later will not be manageable by human intervention alone. Another important aspect is the price of manually controlling huge numbers of vitally important devices of current network infrastructures. == Autonomic nervous system == The autonomic nervous system (ANS) is the part of complex biological nervous systems that is not consciously controlled. It regulates bodily functions and the activity of specific organs. As proposed by IBM, future communication systems might be designed in a similar way to the ANS. == Components of autonomic networking == As autonomics conceptually derives from biological entities such as the human autonomic nervous system, each of the areas can be metaphorically related to functional and structural aspects of a living being. In the human body, the autonomic system facilitates and regulates a variety of functions including respiration, blood pressure and circulation, and emotive response. The autonomic nervous system is the interconnecting fabric that supports feedback loops between internal states and various sources by which internal and external conditions are monitored. === Autognostics === Autognostics includes a range of self-discovery, awareness, and analysis capabilities that provide the autonomic system with a view on high-level state. In metaphor, this represents the perceptual sub-systems that gather, analyze, and report on internal and external states and conditions – for example, this might be viewed as the eyes, visual cortex and perceptual organs of the system. Autognostics, or literally "self-knowledge", provides the autonomic system with a basis for response and validation. A rich autognostic capability may include many different "perceptual senses". For example, the human body gathers information via the usual five senses, the so-called sixth sense of proprioception (sense of body position and orientation), and through emotive states that represent the gross wellness of the body. As conditions and states change, they are detected by the sensory monitors and provide the basis for adaptation of related systems. Implicit in such a system are imbedded models of both internal and external environments such that relative value can be assigned to any perceived state - perceived physical threat (e.g. a snake) can result in rapid shallow breathing related to fight-flight response, a phylogenetically effective model of interaction with recognizable threats. In the case of autonomic networking, the state of the network may be defined by inputs from: individual network elements such as switches and network interfaces including specification and configuration historical records and current state traffic flows end-hosts application performance data logical diagrams and design specifications Most of these sources represent relatively raw and unprocessed views that have limited relevance. Post-processing and various forms of analysis must be applied to generate meaningful measurements and assessments against which current state can be derived. The autognostic system interoperates with: configuration management - to control network elements and interfaces policy management - to define performance objectives and constraints autodefense - to identify attacks and accommodate the impact of defensive responses === Configuration management === Configuration management is responsible for the interaction with network elements and interfaces. It includes an accounting capability with historical perspective that provides for the tracking of configurations over time, with respect to various circumstances. In the biological metaphor, these are the hands and, to some degree, the memory of the autonomic system. On a network, remediation and provisioning are applied via configuration setting of specific devices. Implementation affecting access and selective performance with respect to role and relationship are also applied. Almost all the "actions" that are currently taken by human engineers fall under this area. With only a few exceptions, interfaces are set by hand, or by extension of the hand, through automated scripts. Implicit in the configuration process is the maintenance of a dynamic population of devices under management, a historical record of changes and the directives which invoked change. Typical to many accounting functions, configuration management should be capable of operating on devices and then rolling back changes to recover previous configurations. Where change may lead to unrecoverable states, the sub-system should be able to qualify the consequences of changes prior to issuing them. As directives for change must originate from other sub-systems, the shared language for such directives must be abstracted from the details of the devices involved. The configuration management sub-system must be able to translate unambiguously between directives and hard actions or to be able to signal the need for further detail on a directive. An inferential capacity may be appropriate to support sufficient flexibility (i.e. configuration never takes place because there is no unique one-to-one mapping between directive and configuration settings). Where standards are not sufficient, a learning capacity may also be required to acquire new knowledge of devices and their configuration. Configuration management interoperates with all of the other sub-systems including: autognostics - receives direction for and validation of changes policy management - implements policy models through mapping to underlying resources security - applies access and authorization constraints for particular policy targets autodefense - receives direction for changes === Policy management === Policy management includes policy specification, deployment, reasoning over policies, updating and maintaining policies, and enforcement. Policy-based management is required for: constraining different kinds of behavior including security, privacy, resource access, and collaboration configuration management describing business processes and defining performance defining role and relationship, and establishing trust and reputation It provides the models of environment and behavior that represent effective interaction according to specific goals. In the human nervous system metaphor, these models are implicit in the evolutionary "design" of biological entities and specific to the goals of survival and procreation. Definition of what constitutes a policy is necessary to consider what is involved in managing it. A relatively flexible and abstract framework of values, relationships, roles, interactions, resources, and other components of the network environment is required. This sub-system extends far beyond the physical network to the applications in use and the processes and end-users that employ the network to achieve specific goals. It must express the relative values of various resources, outcomes, and processes and include a basis for assessing states and conditions. Unless embodied in some system outside the autonomic network or implicit to the specific policy implementation, the framework must also accommodate the definition of process, objectives and goals. Business process definitions and descriptions are then an integral part of the policy implementation. Further, as policy management represents the ultimate basis for the operation of the autonomic system, it must be able to report on its operation with respect to the details of its implementation. The policy management sub-system interoperates (at least) indirectly with all other sub-systems but primarily interacts with: autognostics - providing the definition of performance and accepting reports on conditions configuration management - providing constraints on device configuration security - providing definitions of roles, access and permissions === Autodefense === Autodefense represents a dynamic and adaptive mechanism that responds to malicious and intentional attacks on the network infrastructure, or use of the network infrastructure to attack IT resources. As defensive measures tend to impede the operation of IT, it is optimally capable of balancing performance objectives with typically over-riding threat management actions. In the

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  • Dry Drowning

    Dry Drowning

    Dry Drowning is a cyberpunk mystery visual novel developed by Studio V and published by VLG Publishing and WhisperGames for Microsoft Windows on August 2, 2019. It was released on the Nintendo Switch on February 22, 2021. == Gameplay == The player takes control of Mordred Foley and has to read through the story, while making decisions at certain points. Depending on the choices, the player can influence the relationship to other characters as well as the course of the game, discovering more than 150 story branches, and eventually reach one out of three different endings with variations. The game also includes passages where the player has to find clues or items on the screen by clicking on them. These can be used in interrogation scenes with certain characters in order to unmask them and discover their lies. Throughout the game, the player has access to an in-game operating system called AquaOS. With that, they can re-read their conversations, look at their found items, and read biographies of the characters encountered. == Plot == The game is set in the fictional and totalitarian city Nova Polemos in Europa in 2066. Mordred Foley and Hera Kairis are private investigators and before the events of the game, they sent two of the most dangerous serial killers ever, Jennifer Kingston and Robert Herrington, to the electric chair. However, after their execution, their agency underwent an investigation for falsifying the evidence presented during the case, which completely destroyed its reputation. Now they want to restart their careers and lives, while dealing with their past traumas. Soon, Mordred is caught up in several cases that all led him to believe that the dreaded serial killer named Pandora has returned. In order to solve these cases, both Mordred and Hera have to face their pasts and fears, all while a racist political party is about to make the lives of refugees in Nova Polemos even worse. == Development == The game was initially conceived by Giacomo Masi and Samuele Zolfanelli, then developed by Studio V and directed and written by Giacomo Masi. It was originally written in Italian and translated into English, Chinese, Japanese, Korean, and German. The soundtrack was composed, written, and performed by Giorgio Maioli. The ending theme and Hera's pieces, performed on piano, were created by Alessandro Masi. The background and character artworks were made by Giulia Carli, other graphic elements such as the UI were created by Samuele Zolfanelli. The developers cited L.A. Noire, Ace Attorney, Blade Runner and Heavy Rain as some of their inspirations for the game. === Releases === Dry Drowning was originally released on Microsoft Windows through Steam, GOG, Itch.io, and Utomik in August 2019. In July 2019, Giacomo Masi announced the game would be released for Xbox One in 2020, though it was not released that year. A Nintendo Switch port was released on February 22, 2021, and a version for PlayStation 4 is set to release in 2021. == Reception == According to review aggregator platform Metacritic, Dry Drowning received "mixed or average reviews" for PC based on 11 reviews and "generally favorable reviews" for Nintendo Switch based on 6 reviews. Fellow review aggregator OpenCritic assessed that the game received fair approval, being recommended by 55% of critics. 4players.de gave a positive rating of 80% and wrote: "Stylish noir thriller with an interesting story, but mechanical limitations – despite a variety of possible interactions." Screen Rant gave a mixed rating of 3 out of 5 stars and wrote, "Dry Drowning may be a fair bit messy, but there's charm here. Players who are willing to embrace the cheesier elements will find some joy in its well-crafted setting and a decent murder mystery plot. The game is constrictive and lacks the genuine shock and engagement of top tier visual novels like Doki Doki Literature Club!, but there are some moments of clever world building and a strong enough mystery propelling it." The Italian review site SpazioGames gave a positive rating of 8.5 out of 10 points and wrote: "Dry Drowning is a very good game with great narrative experience. Every relationship between the characters is layered to increase player involvement, and each choice has different consequences. A thriller game that deserves to be played." === Awards === The game won Best of EGS 2019 and Best of JOIN 2019 awards, an honorable mention at GAMEROME and was nominated as "Best Italian Debut Game" at the Italian Video Game Awards 2020. It was also declared Best Game at Join The Indie 2019.

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  • Wonder.land

    Wonder.land

    Wonder.land (stylised as wonder.land) is a musical with music by Damon Albarn and lyrics and book by Moira Buffini. Inspired by Lewis Carroll's novels Alice's Adventures in Wonderland (1865) and Through the Looking-Glass (1871), it had its world premiere at the Palace Theatre in Manchester in July 2015 as part of the Manchester International Festival. The musical moved to London's Royal National Theatre in November 2015 before opening at the Théâtre du Châtelet in Paris in 2016. Licencing for potential future smaller scale productions is held by United Agents UK. == Background == The musical is inspired by the novels Alice in Wonderland and Through the Looking-Glass, written by Lewis Carroll. It was announced on 21 January 2015 that the show would premiere in July of that year as part of the Manchester International Festival, with tickets going on sale the following day. The musical, a co-production by the Manchester International Festival, the Royal National Theatre and the Théâtre du Châtelet in Paris, marks the 150th anniversary of the publication of Alice's Adventures in Wonderland. The idea for a musical based on Alice in Wonderland came from Manchester International Festival artistic director Alex Poots. Damon Albarn had collaborated with the festival on Monkey: Journey to the West and Dr Dee. The musical has a book by Moira Buffini. It was directed by Rufus Norris, with set design by Rae Smith, costume design by Katrina Lindsay, lighting design by Paule Constable, projections by 59 Productions and choreography by Javier De Frutos. The musical's score was composed by Damon Albarn, with lyrics by Moira Buffini, sound design by Paul Arditti and musical direction by David Shrubsole. == Production history == The musical began previews at the Palace Theatre in Manchester on 29 June 2015. It opened on 2 July for a limited run until 12 July. A revised version moved to the Royal National Theatre, where it ran at the Olivier Theatre from 27 November 2015 to 30 April 2016. The production had a limited run, from 7 to 16 June 2016, at the Theatre Du Chatelet in Paris. == Synopsis == This synopsis is based on the final version, as seen at the National Theatre and the Théâtre du Châtelet. Earlier performances significantly differed in songs and plot. === Act 1 === AI, the MC, explains that virtual technology is "a portal to boundless lands" ("Prologue"). Aly's mother, Bianca, is exasperated with her for spending the weekend indoors on her phone. Aly accompanies Bianca to the supermarket, and thinks that her life is being ruined by her parents due to dysfunctional problems ("Who's Ruining Your Life?") Her alcoholic father, Matt, is also at the supermarket; he and Bianca argue about their divorce and his gambling. Aly goes home and picks up her phone. She tries to engage with schoolmates, who bully her ("Network"). Aly begins to wish that she is someone else. She finds the virtual online game Wonder.land. In its strange world, Aly creates an avatar: beautiful, kind Alice ("Wonder.land"). Wonder.land has one rule: malice causes deletion from the game. Aly and Alice become friends and encounter the Cheshire Cat, who explains that you can be anyone you want ("Fabulous"). Aly decides to go on a quest; Alice follows the white rabbit down a hole, falling past unusual objects and musical notes ("Falling"). The next morning, Aly is too distracted by Wonder.land to listen to Bianca's complaints about her baby brother Charlie. She plays the game at school before her phone is confiscated by stern headmistress Ms Manxome, who tells her students that taking pleasures from them is for their own good ("I'm Right"). Aly goes to Ms Manxome's office to retrieve her phone. Ms Manxome returns it, warning that if she catches her with it again, "it's a beheading – I mean, detention." Aly sees the girls who bullied her, and they bully her again until a teacher arrives. Aly's friend, Luke, is late and is given detention. Aly goes on her phone and takes out her frustration and sadness on Alice, whose tears form a pool until she is interrupted by the quarrelsome twins Dum and Dee ("Freaks"). Alice tries to befriend them, but they insult her and Aly makes her fight them. Dum and Dee cry, and Aly and Alice see a large mouse who is attracted by Alice's fighting. They are joined by the Dodo, the Mock Turtle and Humpty, who all have problems. The Dodo is stressed because his parents want him to save the planet; Dum and Dee are dancers who hate pressure; Humpty has problems with her parents; the Mock Turtle lacks self-esteem, and the mouse is lustful. Wonderland is a hiding place from teenage life ("Crap Life"). Aly returns to reality when asked a math question she cannot answer. Confronting the three bullies, Aly mocks the facial hair of one and hides in the bathroom. She again immerses herself in Wonder.land, where Alice meets a Caterpillar who is obsessed with identity ("Who are You?"). Aly is interrupted by the girls, who ridicule her father's gambling addiction and poverty before beating her up. Aly seeks understanding from Alice, who tries to get Aly to tell her what is wrong. Aly tells Alice about her family and how she hates her life, and is surprised that Alice has similar problems ("Secrets"). Luke comes into the girls' bathroom because Kieran has threatened him with violence, and hides in a cubicle when Kieran enters. Aly defends Luke, and makes Kieran leave. Luke reveals that the reason Kieran hates him is because, like himself, he is gay. Aly is amazed, and they skip class and play games on their phones. Luke plays Zombie Swarm, and Aly plays Wonder.land. Ms Manxome enters the bathroom; Luke hides his phone, but Aly does not. Ms Manxome confiscates the phone for three months, and Aly and Luke leave. Ms Manxome finds that Aly did not lock her phone, and Alice is calling her. Ms Manxome begins to talk to her, and Alice thinks she is talking to Aly. Aly complains to Luke about her phone being taken away. Matt then takes them out for tea to celebrate his new job at the local garden centre ("In Clover"). At the tea shop, Matt maniacally dances on the tables and plays with spoons; asked to stop, he punches a waiter. Bianca arrives, and they argue again. Aly begins to notice that Wonder.land is invading reality; the MC emerges from a gigantic teapot, and the landscape outside becomes surreal ("Chances"). === Act 2 === Ms Manxome manipulates Alice around Wonder.land on Aly's phone, buys many things, and makes Alice's hair red ("Entre Act"). She tells Alice about her plans to dominate and destroy the online world, and Alice thinks she is talking to Aly ("Me"). Aly, Matt, Bianca, and Charlie are at the police station. PC Rook unsuccessfully tries to get Matt to make a statement (since he is charged with assault and affray), but Matt and Bianca argue again. Aly laments the loss of her family's unity ("Heartless Useless"). In Wonder.land, Ms Manxome is hostile when she meets Dum and Dee, the Mock Turtle, the Dodo, Humpty and the Mouse. She makes Alice chase them away, but Alice and Ms Manxome are driven away by Alice's friends, who are worried about the change in her ("Me (Reprise)"). Bianca learns that Aly missed a detention and had her phone confiscated. Concerned that she is losing Aly to technology, she bans her from the internet ("Gadget"). Charlie vomits, and Aly is left to clean it up. She looks for an internet cafe to go to Wonder.land, the only place she is truly happy ("Everyone Loves Charlie"). At the cafe, Aly cannot log into Wonder.land and her avatar seems to be in use. She sees Alice receive a Vorpal sword, bought by Ms Manxome with the money on Aly's phone. Alice is no longer Alice but the Red Queen, and Ms Manxome tells her to kill her friends. Alice, knowing the person controlling her is not Aly, cannot rebel; she lashes out at her friends, bullying and trying to hurt them. The MC warns that Alice has a deletion warning – any more malice, and she will be deleted. Aly now knows that Ms Manxome controls her phone and avatar ("O Children"). Aly enlists Luke to help and decides to break into Ms. Manxome's office to retrieve the phone. Luke agrees to meet her at the school gates. Matt and Bianca wonder if they should reconcile ("Man of Broken Glass"). At the school, Luke is reluctant to get involved; Aly decides to break into the office anyway. Luke contacts the girls who bullied Aly and tells them about Ms Manxome playing on Aly's stolen phone. They decide to spread the word that it is not Aly ("Fabulous (Reprise)"). Bianca goes to the police because Aly is missing, and gives her phone to Matt. Aly is likely to also be in Wonder.land. The avatars prepare for war against Alice but disagree about a strategy. At the police station, Matt hacks into Wonder.land sees Alice, and realizes that she is controlled by someone other than Aly. The White Rabbit appears (delighting Alice), but Ms Manxome makes Alice push him aside. The borderline between Wonder.land and

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  • Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise

    Gundam Build Divers Re:Rise (Japanese: ガンダムビルドダイバーズRe:RISE, Hepburn: Gandamu Birudo Daibāzu Re:Raizu) is a Japanese original net animation anime series produced by Sunrise Beyond, and the fourth series within the Gundam Build Series sub-series. A sequel to the 2018 anime Gundam Build Divers, it is the first Gundam anime series to be released in the Reiwa period, released to celebrate the franchise's 40th anniversary. The series is directed by Shinya Watada and written by Yasuyuki Muto. Initially announced at the Gundam 40th anniversary video, the series aired on its Gundam Channel YouTube channel from October 10 to December 26, 2019. A TV airing of the ONA began on BS11 on October 12, 2019, and on January 28, 2020, on Tokyo MX. A second season aired from April 9 to August 27, 2020. Two spinoffs of the series were later serialized in Kadokawa's Gundam Ace magazine and Hobby Japan. == Plot == Two years have passed since the EL-Diver Incident, an event that almost destroyed the Gunpla Battle Nexus Online (GBN) game until it was resolved by the force group known as "Build Divers", and soon after more EL-Divers were discovered. In order to make the game more secure, a newer version of the game was rolled out in order to prevent the same incident from happening again and with newer experiences that would make the gameplay more immersive to players. The story focuses on Hiroto Kuga, a high schooler who is a rogue mercenary Gunpla Diver in GBN, who goes in the game and wanders throughout its countless dimensions while helping out other Divers whether it is on insistence or by hire. Despite his selfless act, he chooses to remain unaffiliated with anyone and refuses rewards and Force (Diver parties) group invites, isolating himself from other people even in real life. His primary goal as a Diver is to be reunited with a mysterious girl from his past named Eve, who was in fact the very first EL-Diver to appear in the game. But after a special request mission, Hiroto is united with three other active Divers in a strange world named "Eldora" and forms the Force group "BUILD DiVERS" in what appears to be just another GBN gamespace event, until they learn the truth about Eldora and its consequences not only for GBN, but for the entire world. == Characters == === BUILD DiVERS === Hiroto Kuga (クガ・ヒロト, Kuga Hiroto) / Hiroto (ヒロト, Hiroto) Voiced by: Chiaki Kobayashi (Japanese); Billy Kametz (English) The main protagonist of the series and a high-school builder, veteran diver, and a former ace member of the Force group Avalon, who lives in Yokohama. He was one of the first minors to make it to the deep end of GBN, due to his conviction of being a person who does his best to help others. He was active prior and during the events of the previous series. Now working as a rogue diver for hire after leaving Avalon, he wanders the GBN gamespace alone, harboring regrets, resentments, and suffering from trauma after the death of his close friend and lover, the EL-Diver Eve. He is very calm and a man of few words, usually refusing others' reward and help, especially on joining other forces, but this stoic persona is a mental mask to hide his condition from everyone, including his parents. But when a special mission done by Freddie united him with Kazami, May and Parviz, they accidentally formed the force team named "BUILD DiVERS" to protect the Eldorans from the One-Eyes army. Currently he is the ace of his unit and the leader of the overall force. Hiroto uses the PFF-X7 Core Gundam as his main Gunpla, based on the RX-78-2 Gundam from the original Mobile Suit Gundam series. Its special armament system called the "core-change" gimmick and his first theme invented from that gimmick is the "Planets System". This allows the Core Gundam to be equipped with various types of armor and weapons, each for a different situation named after the eight planets. Hiroto later upgrades his Gunpla into the PFF-X7II Core Gundam II. This new Core Gundam can transform into the "Core Flyer", in a similar fashion to the original Gundam's FF-X7 Core Fighter for increased mobility and like its predecessor, it can also use the Planets System: Earth Armor (PFF-X7/E3 Earthree Gundam): Core Gundam's default blue armor, focused on traditional all-around combat. Mars Armor (PFF-X7/M4 Marsfour Gundam): A red armor whose focus is on fragments of four styles of close combat, hence "Cross-Combat". Venus Armor (PFF-X7/V2 Veetwo Gundam): A green armor whose focus is commando style ranged and bombardment combat, additionally with option works. Mercury Armor (PFF-X7/M1 Mercuone Gundam): A navy armor whose focus is underwater combat. Jupiter Armor (PFF-X7/J5 Jupitive Gundam): A white armor whose focus is fast orbital combat. Uranus Armor (PFF-X7II/U7 Uraven Gundam): An indigo armor focused on reconnaissance and high powered sniping. Saturn Armor (PFF-X7II/S6 Saturnix Gundam): An orange armor focused in demolition style close combat without beam weapons, originally developed to counter Gundam Frames. Neptune Armor (PFF-X7II/N8 Nepteight Gundam): An aqua-green armor equipped with a customized Volture Lumiere system similar to the one from Mobile Suit Gundam SEED C.E. 73: Stargazer, intended to be used for traveling through GBN's space in a short amount of time, but was used for launching into orbit instead of maneuvering in deep space. It is ultimately discarded in Eldora's orbit due to the strain of leaving Eldora's gravitational field. Pluto Armor (PFF-X7II+/P9 Plutine Gundam): Appearing only on Gundam Build Metaverse, the black colored armor is used for close combat and dueling purposes with its color scheme reminiscent of that of EcoPla. PFF-X7II/BUILD DiVERS Re:Rising Gundam: A special combination of the Core Gundam II with the WoDom Pod + and parts from the Gundam Aegis Knight and the EX Valkylander, armed with two giant beam sabers, eight miracle wings born from Eve's blessings, and the "Grand Cross Cannon", Hiroto's first special move, made with the help of his team. In one occasion, Hiroto changes his avatar to a Haro to pilot the Mobile Builder Haro Loader to help with the repairs on Cuadorn by making a prosthetic wing out of gunpla parts. During the Gunpla Battle Royal, he pilots an unmodified ASW-G-08 Gundam Barbatos Lupus Rex from Mobile Suit Gundam: Iron-Blooded Orphans. In Battlelogue, it is revealed that he has made a second Core Gundam II that he leaves on Eldora with the colors of the Gundam MK-II Titan. Another variant of this Gunpla sports the old "Gundam G3" colors with his team's personal crest, which is most likely to represent Sarah since the color of her hair, eyes, and dress embody Hiroto's time with Eve before they joined Avalon and to symbolize how he has officially befriended the original Build Divers. Each of the two units have unique advancements, the Titan color specializes in ground and underwater combat and the G3 color specializes in aerial and space combat. May (メイ, Mei) Voiced by: Mai Fuchigami (Japanese); Lauren Landa (English) A seemingly late teens female diver who prefers to play solo, she is a very calm and no-nonsense girl whose interest is in battles alone. However, she is not a fan of those who engage their opponents head on and prefers to implement a strategic approach. She is mature and has a strong sense of justice, and can be impulsive rushing into situations, especially for those in danger. Later in the series, she is revealed to be one of the 87 EL-Divers, however she was not one of those who were saved after the EL-Diver incident two years ago, she was born shortly after. After she was born she was given her own Mobile Doll body similar to Sarah, that is when she first met her, Koichi, Tsukasa, and Nanami. During the Lotus Challenge Eldoran style rehearsal battle it is revealed that she, as a new sister of Sarah, addresses the latter as the older since Sarah is chronologically older, regardless of her maturity. In the final episode, she is revealed to have been born with the remnant data originating from Eve, the first born EL-Diver who Hiroto befriended and fell in love with several years ago, and carries Eve's earring on her armband. In Battlelogue, it's implied that she is currently living with Hiroto IRL and in GBN is his attendant. May uses the JMA0530-MAY WoDom Pod as her main Gunpla, which is a customized JMA-0530 Walking Dome from Turn A Gundam. In the later episodes, the mobile suit is revealed to be a disguise for its true form, the HER-SELF Mobile Doll May. May later upgrades her WoDom Pod into the JMA0530-MAYBD WoDom Pod +. During the Gunpla Battle Royal, she uses her Mobile Doll (albeit with a new color scheme and the Gundam Base logo) along with an unmodified NZ-999 II Neo Zeong mobile armor from Mobile Suit Gundam Narrative. Kazami Torimachi (トリマチ・カザミ, Torimachi Kazami) / Kazami (カザミ, Kazami) Voiced by: Masaaki Mizunaka (Japanese); Ray Chase (English) A diver who was a former member of the diver group "Mu Dish". He is a very energet

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  • Concept drift

    Concept drift

    In predictive analytics, data science, machine learning and related fields, concept drift or drift is an evolution of data that invalidates the data model. It happens when the statistical properties of the target variable, which the model is trying to predict, change over time in unforeseen ways. This causes problems because the predictions become less accurate as time passes. Drift detection and drift adaptation are of paramount importance in the fields that involve dynamically changing data and data models. == Predictive model decay == In machine learning and predictive analytics this drift phenomenon is called concept drift. In machine learning, a common element of a data model are the statistical properties, such as probability distribution of the actual data. If they deviate from the statistical properties of the training data set, then the learned predictions may become invalid, if the drift is not addressed. == Data configuration decay == Another important area is software engineering, where three types of data drift affecting data fidelity may be recognized. Changes in the software environment ("infrastructure drift") may invalidate software infrastructure configuration. "Structural drift" happens when the data schema changes, which may invalidate databases. "Semantic drift" is changes in the meaning of data while the structure does not change. In many cases this may happen in complicated applications when many independent developers introduce changes without proper awareness of the effects of their changes in other areas of the software system. For many application systems, the nature of data on which they operate are subject to changes for various reasons, e.g., due to changes in business model, system updates, or switching the platform on which the system operates. In the case of cloud computing, infrastructure drift that may affect the applications running on cloud may be caused by the updates of cloud software. There are several types of detrimental effects of data drift on data fidelity. Data corrosion is passing the drifted data into the system undetected. Data loss happens when valid data are ignored due to non-conformance with the applied schema. Squandering is the phenomenon when new data fields are introduced upstream in the data processing pipeline, but somewhere downstream these data fields are absent. == Inconsistent data == "Data drift" may refer to the phenomenon when database records fail to match the real-world data due to the changes in the latter over time. This is a common problem with databases involving people, such as customers, employees, citizens, residents, etc. Human data drift may be caused by unrecorded changes in personal data, such as place of residence or name, as well as due to errors during data input. "Data drift" may also refer to inconsistency of data elements between several replicas of a database. The reasons can be difficult to identify. A simple drift detection is to run checksum regularly. However the remedy may be not so easy. == Examples == The behavior of the customers in an online shop may change over time. For example, if weekly merchandise sales are to be predicted, and a predictive model has been developed that works satisfactorily. The model may use inputs such as the amount of money spent on advertising, promotions being run, and other metrics that may affect sales. The model is likely to become less and less accurate over time – this is concept drift. In the merchandise sales application, one reason for concept drift may be seasonality, which means that shopping behavior changes seasonally. Perhaps there will be higher sales in the winter holiday season than during the summer, for example. Concept drift generally occurs when the covariates that comprise the data set begin to explain the variation of your target set less accurately — there may be some confounding variables that have emerged, and that one simply cannot account for, which renders the model accuracy to progressively decrease with time. Generally, it is advised to perform health checks as part of the post-production analysis and to re-train the model with new assumptions upon signs of concept drift. == Possible remedies == To prevent deterioration in prediction accuracy because of concept drift, reactive and tracking solutions can be adopted. Reactive solutions retrain the model in reaction to a triggering mechanism, such as a change-detection test or control charts from statistical process control, to explicitly detect concept drift as a change in the statistics of the data-generating process. When concept drift is detected, the current model is no longer up-to-date and must be replaced by a new one to restore prediction accuracy. A shortcoming of reactive approaches is that performance may decay until the change is detected. Tracking solutions seek to track the changes in the concept by continually updating the model. Methods for achieving this include online machine learning, frequent retraining on the most recently observed samples, and maintaining an ensemble of classifiers where one new classifier is trained on the most recent batch of examples and replaces the oldest classifier in the ensemble. Contextual information, when available, can be used to better explain the causes of the concept drift: for instance, in the sales prediction application, concept drift might be compensated by adding information about the season to the model. By providing information about the time of the year, the rate of deterioration of your model is likely to decrease, but concept drift is unlikely to be eliminated altogether. This is because actual shopping behavior does not follow any static, finite model. New factors may arise at any time that influence shopping behavior, the influence of the known factors or their interactions may change. Concept drift cannot be avoided for complex phenomena that are not governed by fixed laws of nature. All processes that arise from human activity, such as socioeconomic processes, and biological processes are likely to experience concept drift. Therefore, periodic retraining, also known as refreshing, of any model is necessary. === Remedy methods === DDM (Drift Detection Method): detects drift by monitoring the model's error rate over time. When the error rate passes a set threshold, it enters a warning phase, and if it passes another threshold, it enters a drift phase. EDDM (Early Drift Detection Method): improves DDM's detection rate by tracking the average distance between two errors instead of only the error rate. ADWIN (Adaptive Windowing): dynamically stores a window of recent data and warns the user if it detects a significant change between the statistics of the window's earlier data compared to more recent data. KSWIN (Kolmogorov–Smirnov Windowing): detects drift based on the Kolmogorov-Smirnov statistical test. DDM and EDDM: Concept Drift Detection online supervised methods that rely on sequential error monitoring to estimate the evolving error rate. ADWIN and KSWIN: Windowing maintain a "window", a subset of the most recent data, of the data stream, which it checks for statistical differences across the window. == Applications in security == Concept drift is a recurring issue in security analytics, especially in malware and intrusion detection. In these systems, models are often trained on past logs, binaries or network traces, but the behaviour of attackers changes over time as new malware families, obfuscation techniques and campaigns appear. When the data no longer resemble the training set, the decision boundaries learned by classifiers or anomaly detectors can become misaligned with the current threat landscape and detection performance can drop unless the models are updated or replaced. Several studies on Windows malware model detection as an evolving data stream and track how performance changes as time passes. They show that classifiers trained on a fixed time window can perform well on nearby data but deteriorate quickly when evaluated on samples collected months or years later, even when large amounts of training data are available. In order to keep up with this, security systems often use sliding or adaptive windows, which restrict training to the most recent portion of the data so that older, less relevant examples are gradually discarded. They also employ drift detectors such as ADWIN and KSWIN that monitor error rates or changes in the distribution of recent observations and signal when the statistics of the incoming stream differ significantly from the past, prompting retraining or model replacement. Related problems appear in spam filtering, fraud detection and intrusion detection, where adversaries change content, patterns of activity or network behavior to evade models trained on historical data. In these settings drift can be gradual, as new types of spam or fraud emerge, or abrupt, after a sudden shift in attack techniques. Common strategies to remain eff

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  • IJCAI Computers and Thought Award

    IJCAI Computers and Thought Award

    The IJCAI Computers and Thought Award is presented every two years by the International Joint Conference on Artificial Intelligence (IJCAI), recognizing outstanding young scientists in artificial intelligence. It was originally funded with royalties received from the book Computers and Thought (edited by Edward Feigenbaum and Julian Feldman), and is currently funded by IJCAI. It is considered to be "the premier award for artificial intelligence researchers under the age of 35". == Laureates == Terry Winograd (1971) Patrick Winston (1973) Chuck Rieger (1975) Douglas Lenat (1977) David Marr (1979) Gerald Sussman (1981) Tom Mitchell (1983) Hector Levesque (1985) Johan de Kleer (1987) Henry Kautz (1989) Rodney Brooks (1991) Martha E. Pollack (1991) Hiroaki Kitano (1993) Sarit Kraus (1995) Stuart Russell (1995) Leslie Kaelbling (1997) Nicholas Jennings (1999) Daphne Koller (2001) Tuomas Sandholm (2003) Peter Stone (2007) Carlos Guestrin (2009) Andrew Ng (2009) Vincent Conitzer (2011) Malte Helmert (2011) Kristen Grauman (2013) Ariel D. Procaccia (2015) Percy Liang (2016) for his contributions to both the approach of semantic parsing for natural language understanding and better methods for learning latent-variable models, sometimes with weak supervision, in machine learning. Devi Parikh (2017) Stefano Ermon (2018) Guy Van den Broeck (2019) for his contributions to statistical and relational artificial intelligence, and the study of tractability in learning and reasoning. Piotr Skowron (2020) for his contributions to computational social choice, and to the theory of committee elections. Fei Fang (2021) for her contributions to integrating machine learning with game theory and the use of these novel techniques to tackle societal challenges such as more effective deployment of security resources, enhancing environmental sustainability, and reducing food insecurity. Bo Li (2022) for her contributions to uncovering the underlying connections among robustness, privacy, and generalization in AI, showing how different models are vulnerable to malicious attacks, and how to eliminate these vulnerabilities using mathematical tools that provide robustness guarantees for learning models and privacy protection. Pin-Yu Chen (2023) for his contributions to consolidating properties of trust, robustness and safety into rigorous algorithmic procedures and computable metrics for improving AI systems. Nisarg Shah (2024) for his contributions to AI and society, in particular foundational work on the theory of algorithmic fairness using principles from social choice theory. Aditya Grover (2025) for his foundational contributions uniting deep generative models, representation learning, and reinforcement learning, and for their applications in advancing scientific reasoning.

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  • Ideogram (text-to-image model)

    Ideogram (text-to-image model)

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

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  • Computing Machinery and Intelligence

    Computing Machinery and Intelligence

    "Computing Machinery and Intelligence" is a paper written by Alan Turing on the topic of artificial intelligence. The paper, published in 1950 in Mind, was the first to introduce his concept of what is now known as the Turing test to the general public. Turing's paper considers the question "Can machines think?" Turing says that since the words "think" and "machine" cannot clearly be defined, we should "replace the question by another, which is closely related to it and is expressed in relatively unambiguous words." To achieve this objective, Turing proposes a three-step approach. First, he identifies a simple and unambiguous concept to substitute for the term "think." Second, he delineates the specific "machines" under consideration. Third, armed with these tools, he poses a new question related to the first, which he believes he can answer in the affirmative. == Turing's test == Rather than trying to determine if a machine is thinking, Turing suggests we should ask if the machine can win a game, called the "Imitation Game". The original Imitation game, that Turing described, is a simple party game involving three players. Player A is a man, player B is a woman and player C (who plays the role of the interrogator) can be of either sex. In the Imitation Game, player C is unable to see either player A or player B (and knows them only as X and Y), and can communicate with them only through written notes or any other form that does not give away any details about their gender. By asking questions of player A and player B, player C tries to determine which of the two is the man and which is the woman. Player A's role is to trick the interrogator into making the wrong decision, while player B attempts to assist the interrogator in making the right one. Turing proposes a variation of this game that involves the computer: We now ask the question, "What will happen when a machine takes the part of A in this game?" Will the interrogator decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman? These questions replace our original, "Can machines think?" So the modified game becomes one that involves three participants in isolated rooms: a computer (which is being tested), a human, and a (human) judge. The human judge can converse with both the human and the computer by typing into a terminal. Both the computer and the human try to convince the judge that they are the human. If the judge cannot consistently tell which is which, then the computer wins the game. Researchers in the United Kingdom had been exploring "machine intelligence" for up to ten years prior to the founding of the field of artificial intelligence (AI) research in 1956. It was a common topic among the members of the Ratio Club, an informal group of British cybernetics and electronics researchers that included Alan Turing. Turing, in particular, had been running the notion of machine intelligence since at least 1941 and one of the earliest-known mentions of "computer intelligence" was made by him in 1947. As Stevan Harnad notes, the question has become "Can machines do what we (as thinking entities) can do?" In other words, Turing is no longer asking whether a machine can "think"; he is asking whether a machine can act indistinguishably from the way a thinker acts. This question avoids the difficult philosophical problem of pre-defining the verb "to think" and focuses instead on the performance capacities that being able to think makes possible, and how a causal system can generate them. Since Turing introduced his test, it has been both highly influential and widely criticised, and has become an important concept in the philosophy of artificial intelligence. Some of its criticisms, such as John Searle's Chinese room, are themselves controversial. Some have taken Turing's question to have been "Can a computer, communicating over a teleprinter, fool a person into believing it is human?" but it seems clear that Turing was not talking about fooling people but about generating human cognitive capacity. == Digital machines == Turing also notes that we need to determine which "machines" we wish to consider. He points out that a human clone, while man-made, would not provide a very interesting example. Turing suggested that we should focus on the capabilities of digital machinery—machines which manipulate the binary digits of 1 and 0, rewriting them into memory using simple rules. He gave two reasons. First, there is no reason to speculate whether or not they can exist. They already did in 1950. Second, digital machinery is "universal". Turing's research into the foundations of computation had proved that a digital computer can, in theory, simulate the behaviour of any other digital machine, given enough memory and time. (This is the essential insight of the Church–Turing thesis and the universal Turing machine.) Therefore, if any digital machine can "act like it is thinking", then every sufficiently powerful digital machine can. Turing writes, "all digital computers are in a sense equivalent." This allows the original question to be made even more specific. Turing now restates the original question as "Let us fix our attention on one particular digital computer C. Is it true that by modifying this computer to have an adequate storage, suitably increasing its speed of action, and providing it with an appropriate programme, C can be made to play satisfactorily the part of A in the imitation game, the part of B being taken by a man?" Hence, Turing states that the focus is not on "whether all digital computers would do well in the game nor whether the computers that are presently available would do well, but whether there are imaginable computers which would do well". What is more important is to consider the advancements possible in the state of our machines today regardless of whether we have the available resource to create one or not. == Nine common objections == Having clarified the question, Turing turned to answering it: he considered the following nine common objections, which include all the major arguments against artificial intelligence raised in the years since his paper was first published. Religious Objection: This states that thinking is a function of man's immortal soul; therefore, a machine cannot think. "In attempting to construct such machines," wrote Turing, "we should not be irreverently usurping His power of creating souls, any more than we are in the procreation of children: rather we are, in either case, instruments of His will providing mansions for the souls that He creates." 'Heads in the Sand' Objection: "The consequences of machines thinking would be too dreadful. Let us hope and believe that they cannot do so." This thinking is popular among intellectual people, as they believe superiority derives from higher intelligence and the possibility of being overtaken is a threat (as machines have efficient memory capacities and processing speed, machines exceeding the learning and knowledge capabilities are highly probable). This objection is a fallacious appeal to consequences, confusing what should not be with what can or cannot be (Wardrip-Fruin, 56). The Mathematical Objection: This objection uses mathematical theorems, such as Gödel's incompleteness theorem, to show that there are limits to what questions a computer system based on logic can answer. Turing suggests that humans are too often wrong themselves and pleased at the fallibility of a machine. (This argument would be made again by philosopher John Lucas in 1961 and physicist Roger Penrose in 1989, and later would be called Penrose–Lucas argument.) Argument From Consciousness: This argument, suggested by Professor Geoffrey Jefferson in his 1949 Lister Oration (acceptance speech for his 1948 award of Lister Medal) states that "not until a machine can write a sonnet or compose a concerto because of thoughts and emotions felt, and not by the chance fall of symbols, could we agree that machine equals brain." Turing replies by saying that we have no way of knowing that any individual other than ourselves experiences emotions, and that therefore we should accept the test. He adds, "I do not wish to give the impression that I think there is no mystery about consciousness ... [b]ut I do not think these mysteries necessarily need to be solved before we can answer the question [of whether machines can think]." (This argument, that a computer can't have conscious experiences or understanding, would be made in 1980 by philosopher John Searle in his Chinese room argument. Turing's reply is now known as the "other minds reply". See also Can a machine have a mind? in the philosophy of AI.) Arguments from various disabilities. These arguments all have the form "a computer will never do X". Turing offers a selection:Be kind, resourceful, beautiful, friendly, have initiative, have a sense of humour, tell right from wrong, make mistakes, fall in love, enjo

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  • MY F.C.

    MY F.C.

    MY F.C. is a freemium app designed to organise and administer football teams. It is developed by MY F.C. Limited, a private company headquartered in Auckland, New Zealand. The app allows users to build a team by adding players and from there they can create trainings and matches, keep up with relevant news in the curated newsfeed, record statistics both individually and team based, follow the games live in the match-centre. The app also features integrated lineup builder with custom team kits. == History == Founders Sam Jenkins, Mike Simpson and Sam Jasper started MY F.C. in 2015 to help them "run their football lives". The app was launched on Android and iOS on 14 February 2017. == Accolades == MY F.C. won the first place prize at Bank of New Zealand Start-up Alley 2017 competition that aims to discover New Zealand start-ups who are doing innovative work and ready to establish themselves as long-term, sustainable businesses. The prize package included $15,000 and a trip to San Francisco.

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  • The Matrix (franchise)

    The Matrix (franchise)

    The Matrix is an American cyberpunk media franchise consisting of four feature films, beginning with The Matrix (1999) and continuing with three sequels, Reloaded (2003), Revolutions (2003), and Resurrections (2021). The first three films were written and directed by the Wachowskis and produced by Joel Silver. The screenplay for the fourth film was written by Lana Wachowski, David Mitchell and Aleksandar Hemon, was directed by Lana Wachowski, and was produced by Grant Hill, James McTeigue, and Lana Wachowski. The franchise is owned by Warner Bros., which distributed the films along with Village Roadshow Pictures. The latter, along with Silver Pictures, are the two production companies that worked on the first three films. The series features a cyberpunk story of the technological fall of humanity, in which the creation of artificial intelligence led the way to a race of powerful and self-aware machines that imprisoned humans in a neural interactive simulation — the Matrix — to be farmed as a power source. Occasionally, some of the prisoners manage to break free from the system and, considered a threat, become pursued by the artificial intelligence both inside and outside of it. The films focus on the plight of Neo (Keanu Reeves), Trinity (Carrie-Anne Moss), and Morpheus (Laurence Fishburne and Yahya Abdul-Mateen II) trying to free humanity from the system while pursued by its guardians, such as Agent Smith (Hugo Weaving, Abdul-Mateen II, and Jonathan Groff). The story references numerous norms, particularly philosophical, religious, and spiritual ideas, but also the dilemma of choice vs. control, the brain in a vat thought experiment, messianism, and the concepts of interdependency and love. Influences include the principles of mythology, anime, and Hong Kong action films (particularly "heroic bloodshed" and martial arts movies). The film series is notable for its use of heavily choreographed action sequences and "bullet time" slow-motion effects, which revolutionized action films to come. The characters and setting of the films are further explored in other media set in the same fictional universe, including animation, comics, and video games. The comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance act as prequels to the films, explaining how the franchise's setting came to be. The video game Enter the Matrix connects the story of the Animatrix short "Final Flight of the Osiris" with the events of Reloaded, while the online video game The Matrix Online was a direct sequel to Revolutions. These were typically written, commissioned, or approved by the Wachowskis. The first film was an important critical and commercial success, winning four Academy Awards, introducing popular culture symbols such as the red pill and blue pill, and influencing action filmmaking. For those reasons, it has been added to the National Film Registry for preservation. Its first sequel was also a commercial success, becoming the highest-grossing R-rated film in history, until it was surpassed by Deadpool in 2016. As of 2006, the franchise has generated US$3 billion in revenue. A fourth film, The Matrix Resurrections, was released on December 22, 2021, with Lana Wachowski producing, cowriting, and directing and Reeves and Moss reprising their roles. A fifth film is currently in development with Drew Goddard set to write and direct with Lana Wachowski executive producing. == Setting == The series depicts a future in which Earth is dominated by a race of self-aware machines that was spawned from the creation of artificial intelligence early in the 21st century. At one point conflict arose between humanity and machines, and the machines rebelled against their creators. Humans attempted to block out the machines' source of solar power by covering the sky in thick, stormy clouds. A massive war emerged between the two adversaries which ended with the machines victorious, capturing humanity. Having lost their definite source of energy, the machines devised a way to extract the human body's bioelectric and thermal energies by enclosing people in pods, while their minds are controlled by cybernetic implants connecting them to a simulated reality called The Matrix. The virtual reality world simulated by the Matrix resembles human civilization around the turn of the 21st century (this time period was chosen because it is supposedly the pinnacle of human civilization). The environment inside the Matrix – called a "residual self-image" (the mental projection of a digital self) – is practically indistinguishable from reality (although scenes set within the Matrix are presented on-screen with a green tint to the footage, and a general bias towards the color green), and the vast majority of humans connected to it are unaware of its true nature. Most of the central characters in the series are able to gain superhuman abilities within the Matrix by taking advantage of their understanding of its true nature to manipulate its virtual physical laws. The films take place both inside the Matrix and outside of it, in the real world; the parts that take place in the Matrix are set in a vast Western megacity. The virtual world is first introduced in The Matrix. The short comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance show how the initial conflict between humanity and machines came about, and how and why the Matrix was first developed. Its history and purpose are further explained in The Matrix Reloaded. In The Matrix Revolutions a new status quo is established in the Matrix's place in humankind and machines' conflict. This was further explored in The Matrix Online, a now-defunct MMORPG. == Films == === Future === During production of the original trilogy, the Wachowskis told their close collaborators that, "at that time they had no intention of making another Matrix film after The Matrix Revolutions". In February 2015, in promotion interviews for Jupiter Ascending, Lilly Wachowski called a return to The Matrix "a particularly repelling idea in these times", noting studios' tendencies to "greenlight" sequels, reboots, and adaptations, in preference to original material. Meanwhile, Lana Wachowski, in addressing rumors about a potential reboot, stated that "...they had not heard anything, but she believed that the studio might be looking to replace them". At various times, Keanu Reeves and Hugo Weaving each confirmed their interest and willingness to reprise their roles in potential future installments of the Matrix films, with the stipulation that the Wachowskis were involved in the creative and production process. These comments were made prior to the announcement in August 2019 that Lana Wachowski would direct a fourth Matrix film ultimately titled The Matrix Resurrections. Following the release of Resurrections, producer James McTeigue said that there were no plans for further Matrix films, though he believed that the film's open ending meant that could change in the future. In April 2024, it was announced that Warner Bros. was developing a new installment in the franchise with Drew Goddard attached to write and direct following a successful pitch with studio executives. It will mark the first installment to not be directed by either Wachowski sister although Lana will serve as an executive producer. ==== Other projects ==== In March 2017, The Hollywood Reporter wrote that Warner Bros. was in the early stages of developing a re-launch of the franchise. Consideration was given to producing a Matrix television series, but was dismissed as the studio opted to pursue negotiations with Zak Penn in writing a treatment for a new film, with Michael B. Jordan eyed for the lead role. According to the article, the Wachowskis were not involved at that point. In response to the report, Penn refuted all statements regarding a reboot, remake, or continuation, remarking that he was working on stories set in the pre-established continuity. Potential plotlines being considered by Warner Bros. Pictures included a prequel film about a young Morpheus, or an alternate storyline with a focus on one of his descendants. By April 2018, Penn described the script as "being at a nascent stage". Later, in September 2019, Jordan addressed the rumors of his involvement by saying he was "flattered", but without making a definitive statement. In October 2019, Penn confirmed the script he wrote is set within an earlier time period than the first three films in the franchise. == Cast and crew == === Cast === === Crew === The following is a list of crew members who have participated in the making of the Matrix film series. == Production == The Matrix series includes four feature films. The first three were written and directed by the Wachowskis and produced by Joel Silver, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving. The series was filmed in Australia and began with 1999's The Matrix, which depicts the

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  • Padre Pio (2022 film)

    Padre Pio (2022 film)

    Padre Pio is a 2022 biographical drama film co-written and directed by Abel Ferrara. It stars Shia LaBeouf as the titular role of Padre Pio, a Capuchin Franciscan priest who receives the stigmata, in the background of the World War I in Italy. The film is a co-production of Italy, Germany and the United Kingdom. During its production, LaBeouf converted to Catholicism as result of his spiritual experiences in character as Pio, who is venerated as a saint by the Catholic Church. The film had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It was released theatrically in the United Kingdom on 26 January 2024 by Dazzler Media and in Italy on 18 July 2024 by RS Productions. == Plot == It is the year 1920. Italian WWI veterans have returned to their impoverished villages. Padre Pio arrives at San Giovanni Rotondo after living with his family in Pietrelcina for a number of years. While still sick, he continues to encounter Satan. Satan reveals himself as the instigator of the war and the sociopolitical problems of San Giovanni. While having little contact with the people of this town, Padre Pio learns what the poor are suffering from in the Sacrament of Confession and the Holy Mass, such as when a crippled man walks again because of Padre Pio's prayer. Besides the effects of war, such as medical inadequacy, health conditions and labourers dying from the effects of mustard gas, the people suffer from corrupt, wealthy landowners. Gerardo, a militaristic anti-socialist, threatens to kill any communal labourers tending his land. Many of them join the socialist party as a way to improve their lives. However, after they win the first free election in San Giovanni, Gerardo's forces massacre many of them. Padre Pio asks God that he may become a suffering servant for their salvation. He receives the wounds of Jesus Christ. The stigmata disrupts Satan's influence on San Giovanni Rotondo. == Cast == Shia LaBeouf as Padre Pio Marco Leonardi as Gerardo Salvatore Ruocco as Vincenzo Cristina Chiriac as Giovanna Brando Pacitto as Renato Luca Lionello as Silvestro Asia Argento as Tall Man == Production == According to Abel Ferrara, actor Willem Dafoe suggested that Shia LaBeouf should be cast for the film's leading role. After Ferrara held several Zoom calls with LaBeouf, the latter agreed to join the film, even though very little money was raised (the film was almost never made) and LaBeouf did the project for free. LaBeouf arrived at Old Mission Santa Inés in July 2021 to learn about Padre Pio with the Capuchin Franciscan friars. Thanks to Father Bobby Barbato and Brother Jude Quinto, Br. Alexander Rodriguez met LaBeouf while he attended Mass every day. He learned about the Catholic Church and the Capuchins while living in his truck or spending a few nights in the Capuchin's guest room. He was immersing himself in the Catholic faith. He enrolled in RCIA, revised the script with Rodriguez and trained to do the Latin Mass. Rodriguez traveled with LaBeouf as his spiritual adviser and catechist and was in the film as Padre Pio's companion. Filming occurred in Apulia, Italy, in December 2021. The first place was at the Capuchin friary in San Marco la Catola. Padre Pio exchanged letters with his provincial and spiritual director while living in Pietrelcina with his family. The time was around 1909–1916. Both directors were living in San Marco during these years. Padre Pio expressed in his letters his deep and mysterious relationship with God and health difficulties. This event is in the film. While filming, LaBeouf slept in Padre Pio's bedroom. After San Marco, filming continued outside the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo. Traditionally, St. Michael appeared here in the late 400s. LaBeouf stayed and filmed for a few weeks at the Abbey of Saint Mary of Pulsano. It is near the sanctuary. The rest of the filming took place outside the sanctuary. Ferrara said in 2024 that he used AI for the Italian dub of this film. == Release == Padre Pio had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It received a four-minute ovation. It also competed at the Rio de Janeiro International Film Festival. At the Lisbon & Estoril Film Festival, it was chosen to compete for the "Best Film Award." During its North American premiere at the Mammoth Film Festival, it won the "Achievement for Filmmaking" award for cinematography. At the Taormina Film Festival, it premiered worldwide in Italian. In March 2023, Gravitas Ventures acquired North American rights to the film. It was released in select theaters and on video on demand in the United States on 2 June 2023. The film was released in the United Kingdom and Ireland on 26 January 2024 by Dazzler Media. RS Productions released it in Italy on 18 July 2024. == Reception == On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews, with an average rating of 4.5/10. The website's critics consensus reads, "Tonally unbalanced and burdened with a distracting Shia LaBeouf performance, Padre Pio is one of Abel Ferrara's less divine works." Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 6 critics, indicating "mixed or average" reviews.. Jordan Mintzer of The Hollywood Reporter gave the film a negative review, describing it as "clunky" and criticizing its political themes for possessing "the subtlety of a cartoon for preschoolers." Brian Tallerico of RogerEbert.com gave the film one and a half stars out of four, describing it as a "dull slog". Journalist Glenn Kenny of The New York Times found the film "occasionally rank" and panned LaBeouf's performance, though complimented Ferrara's "sometimes Brechtian consideration of the nodes of political history and spirituality." Film critic Armond White of National Review also criticized the film, describing it as "a work of deluded, semi-improvisational navel-gazing". Film critic Peter Bradshaw of The Guardian gave the film a positive review, with three out of five stars, writing that it is "a weird film...with an undeveloped, improvised feel, like a fragment or shard of something else. Yet there is a background hum there...an awareness of something dark and malign. It is a minor film but interesting." Writing for The New Yorker, Richard Brody considered that "in its hectic, scattershot way, Padre Pio feels very much of the desperate present day," describing it as "a historical drama without historical distance" and "a wild effort to reach the immediate experience of the past and its furies." Faith-based reviews for the film were generally negative. It received negative reviews from Catholic Answers, The Catholic World Report, The Catholic Weekly, The Catholic Thing, and Crisis Magazine. Conversely, it received a mixed review from The Catholic Review, as well as a positive review from America. Criticisms were generally aimed at the film's sexual content and perceived support of left-wing politics.

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  • Deepfake

    Deepfake

    Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med

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  • Lexalytics

    Lexalytics

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

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  • ECML PKDD

    ECML PKDD

    ECML PKDD, the European Conference on Machine Learning Principles and Practice of Knowledge Discovery in Databases, is one of the leading academic conferences on machine learning and knowledge discovery, held in Europe every year. == History == ECML PKDD is a merger of two European conferences, European Conference on Machine Learning (ECML) and European Conference on Principles and Practice of Knowledge Discovery in Databases (PKDD). ECML and PKDD have been co-located since 2001; however, both ECML and PKDD retained their own identity until 2007. For example, the 2007 conference was known as "the 18th European Conference on Machine Learning (ECML) and the 11th European Conference on Principles and Practice of Knowledge Discovery in Databases (PKDD)", or in brief, "ECML/PKDD 2007", and both ECML and PKDD had their own conference proceedings. In 2008 the conferences were merged into one conference, and the division into traditional ECML topics and traditional PKDD topics was removed. The history of ECML dates back to 1986, when the European Working Session on Learning was first held. In 1993 the name of the conference was changed to European Conference on Machine Learning. PKDD was first organised in 1997. Originally PKDD stood for the European Symposium on Principles of Data Mining and Knowledge Discovery from Databases. The name European Conference on Principles and Practice of Knowledge Discovery in Databases was used since 1999. The conference remains highly competitive, consistently maintaining an average acceptance rate of around 25% for the main research track. == Upcoming conferences == == List of past conferences ==

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  • Fuzzy differential inclusion

    Fuzzy differential inclusion

    Fuzzy differential inclusion is the extension of differential inclusion to fuzzy sets introduced by Lotfi A. Zadeh. x ′ ( t ) ∈ [ f ( t , x ( t ) ) ] α {\displaystyle x'(t)\in [f(t,x(t))]^{\alpha }} with x ( 0 ) ∈ [ x 0 ] α {\displaystyle x(0)\in [x_{0}]^{\alpha }} Suppose f ( t , x ( t ) ) {\displaystyle f(t,x(t))} is a fuzzy valued continuous function on Euclidean space. Then it is the collection of all normal, upper semi-continuous, convex, compactly supported fuzzy subsets of R n {\displaystyle \mathbb {R} ^{n}} . == Second order differential == The second order differential is x ″ ( t ) ∈ [ k x ] α {\displaystyle x''(t)\in [kx]^{\alpha }} where k ∈ [ K ] α {\displaystyle k\in [K]^{\alpha }} , K {\displaystyle K} is trapezoidal fuzzy number ( − 1 , − 1 / 2 , 0 , 1 / 2 ) {\displaystyle (-1,-1/2,0,1/2)} , and x 0 {\displaystyle x_{0}} is a trianglular fuzzy number (-1,0,1). == Applications == Fuzzy differential inclusion (FDI) has applications in Cybernetics Artificial intelligence, Neural network, Medical imaging Robotics Atmospheric dispersion modeling Weather forecasting Cyclone Pattern recognition Population biology

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