AI For Business Isb

AI For Business Isb — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Web development

  Web development is the process of designing, developing and maintaining websites and web apps. Web development encompasses several different fields, most commonly referring to the programming of websites. Front-end development is the act of developing the user interface and client-side code, while back-end development focuses on the infrastructure behind a website, mainly server-side code. Since the World Wide Web was released publicly in 1993, web development has evolved greatly, with websites changing from a collection of static HTML pages to complex projects using frameworks, servers, and databases. == Overview == Web development includes many individual tasks, including web design, web content development, networking, and coding. Among web professionals, "web development" usually refers to the main non-design aspects of building websites: writing markup and coding. Web development is generally split into two fields: front-end development and back-end development. Front-end developers create the user interface of websites, turning web designs into HTML, CSS, and JavaScript code. Front-end developers must also make sure that websites work consistently across different browsers and devices. Back-end development, also known as server-side development, focuses on the infrastructure behind a website, including APIs, database management, and security. Some choose to be full-stack developers, meaning they work on both the front-end and back-end. == History == The World Wide Web is often categorised into three generations: Web 1.0, Web 2.0, and Web 3.0 (or Web3). It was invented in 1989, and released to the public in 1993. In the early years of the web, restrospecitvely referred to as Web 1.0, websites were simply a collection of static HTML files, and had limited interactivity. After the introduction of JavaScript in 1995, websites could contain logic, allowing for interactivity. The following year CSS was released, allowing greater control over the styling of web pages. In 1999, the term Web 2.0 was coined by Darcy DiNucci. The term later resurfaced in the early 2000s, as websites started to increase in complexity, requiring server-side services in addition to JavaScript. This led to the emergence of various new programming languages and frameworks designed for backend services, such as PHP, Active Server Pages, and Jakarta Server Pages. This enabled websites to do additional server-side processing, such as accessing databases. Another shift in web development was the release of the iPhone in 2007. This created a new medium for accessing the web, requiring a new approach to web development, and resulting in responsive web design, which allows a single website to appear different depending on the device running it. Later, progressive web apps were introduced, allowing websites to be installed on a device as an independent application. In the 2010s, JavaScript frameworks began to emerge, creating new ways to manipulate web pages, and increasing compatibility between web browsers. JQuery was popular in the early 2010s, but was later surpassed by other frameworks such as React and Vue.js. In the mid 2020s, use of AI became prevalent among web developers, with the 2025 Stack Overflow survey showing over 80% of developers saying the use AI at least monthly in their development process.

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  Paranoia (role-playing game)

  Paranoia is a dystopian science-fiction tabletop role-playing game originally designed and written by Greg Costikyan, Dan Gelber, and Eric Goldberg, and first published in 1984 by West End Games. Since 2004 the game has been published under license by Mongoose Publishing. The game won the Origins Award for Best Roleplaying Rules of 1984 and was inducted into the Origins Awards Hall of Fame in 2007. Paranoia is notable among tabletop games for being more competitive than co-operative, with players encouraged to betray one another for their own interests, as well as for keeping a light-hearted, tongue in cheek tone despite its dystopian setting. Several editions of the game have been published since the original version, and the franchise has spawned several spin-offs, novels and comic books based on the game. == Premise == The game is set in a dystopian future city controlled by the Computer (also known as "Friend Computer"), and where information (including the game rules) are restricted by color-coded "security clearance". Player characters are initially enforcers of the Computer's authority known as Troubleshooters, and are given missions to seek out and eliminate threats to the Computer's control. They are also part of prohibited underground movements, and have secret objectives including theft from and murder of other player characters. == Tone == Paranoia is a humorous role-playing game set in a dystopian future along the lines of Nineteen Eighty-Four, Brave New World, Logan's Run, and THX 1138; however, the tone of the game is rife with black humor, frequently tongue-in-cheek rather than dark and heavy. Most of the game's humor is derived from the players' (usually futile) attempts to complete their assignment while simultaneously adhering to the Computer's arbitrary, contradictory and often nonsensical security directives. The Paranoia rulebook is unusual in a number of ways; demonstrating any knowledge of the rules is forbidden, and most of the rulebook is written in an easy, conversational tone that often makes fun of the players and their characters, while occasionally taking digs at other notable role-playing games. === Setting === The game's main setting is an immense, futuristic city called Alpha Complex. Alpha Complex is controlled by the Computer, a civil service AI construct (a literal realization of the "Influencing Machine" that some schizophrenics fear). The Computer serves as the game's principal antagonist, and fears a number of threats to its 'perfect' society, such as the Outdoors, mutants, and secret societies (especially Communists). To deal with these threats, the Computer employs Troubleshooters, whose job is to go out, find trouble, and shoot it. Player characters are usually Troubleshooters, although later game supplements have allowed the players to take on other roles, such as High-Programmers of Alpha Complex. The player characters frequently receive mission instructions from the Computer that are incomprehensible, self-contradictory, or obviously fatal if adhered to, and side-missions (such as Mandatory Bonus Duties) that conflict with the main mission. Failing a mission generally results in termination of the player character, but succeeding can just as often result in the same fate, after being rewarded for successfully concluding the mission. They are issued equipment that is uniformly dangerous, faulty, or "experimental" (i.e., almost certainly dangerous and faulty). Additionally, each player character is generally an unregistered mutant and a secret society member (which are both termination offenses in Alpha Complex), and has a hidden agenda separate from the group's goals, often involving stealing from or killing teammates. Thus, missions often turn into a comedy of errors, as everyone on the team seeks to double-cross everyone else while keeping their own secrets. The game's manual encourages suspicion between players, offering several tips on how to make the gameplay as paranoid as possible. Every player's character is assigned six clones, known as a six-pack, which are used to replace the preceding clone upon his or her death. The game lacks a conventional health system; most wounds the player characters can suffer are assumed to be fatal. As a result, Paranoia allows characters to be routinely killed, yet the player can continue instead of leaving the game. This easy spending of clones tends to lead to frequent firefights, gruesome slapstick, and the horrible yet humorous demise of most if not all of the player character's clone family. Additional clones can be purchased if one gains sufficient favour with the Computer. === Security clearances === Paranoia features a security clearance system based on colors of the visible spectrum which heavily restricts what the players can and cannot legally do; everything from corridors to food and equipment have security restrictions. The lowest rating is Infrared, but the lowest playable security clearance is Red; the game usually begins with the characters having just been promoted to Red grade. Interfering with anything which is above that player's clearance carries significant risk. The full order of clearances from lowest to highest is Infrared (visually represented by black), Red, Orange, Yellow, Green, Blue, Indigo, Violet, and Ultraviolet (visually represented by white). Within the game, Infrared-clearance citizens live dull lives of mindless drudgery and are heavily medicated, while higher clearance characters may be allowed to demote or even summarily execute those of a lower rank and those with Ultraviolet clearance are almost completely unrestricted and have a great deal of access to the Computer; they are the only citizens that may (legally) access and modify the Computer's programming, and thus Ultraviolet citizens are also referred to as "High Programmers". Security clearance is not related to competence but is instead the result of the Computer's often insane and unjustified calculus of trust concerning a citizen. It is suggested that it may in fact be the High Programmers' meddling with The Computer's programming that resulted in its insanity. === Secret societies === In the game, secret societies tend to be based on sketchy and spurious knowledge of historical matters. For example, previous editions included societies such as the "Seal Club" that idolizes the Outdoors but is unsure what plants and animals actually look like. Other societies include the Knights of the Circular Object (based on the Knights of the Round Table), the Trekkies, and the First Church of Christ Computer Programmer. In keeping with the theme of paranoia, many secret societies have spies or double agents in each other's organizations. The first edition also included secret societies such as Programs Groups (the personal agents and spies of the High Programmers at the apex of Alpha Complex society) and Spy For Another Alpha Complex. The actual societies which would be encountered in a game depends on the play style; some societies are more suited for more light-hearted games (Zap-style, or the lighter end of Classic), whereas others represent a more serious threat to Alpha Complex and are therefore more suitable for Straight or the more dark sort of Classic games. == Publication history == Six editions have been published. Three of these were published by West End Games — the first, second, and fifth editions — whereas the later three editions (Paranoia XP, the 25th Anniversary edition and the "Red Clearance" edition) were published by Mongoose Publishing. In addition to these six published editions, it is known that West End Games were working on a third edition — to replace the poorly received fifth edition — in the late 1990s, but their financial issues would prevent this edition from being published, except for being included in one tournament adventure. === First edition === The first edition, was written by Greg Costikyan, Dan Gelber, and Eric Goldberg, and published in 1984 by West End Games. In 1985, this edition of Paranoia won the Origins Award for Best Roleplaying Rules of 1984. This edition, while encouraging dark humour in-game, took a fairly serious dystopian tone; the supplements and adventures released to accompany it emphasised the lighter side, however, establishing the freewheeling mix of slapstick, intra-team backstabbing and satire that is classically associated with a game of Paranoia. === Second edition === The second edition, is credited to Costikyan, Gelber, Goldberg, Ken Rolston, and Paul Murphy, was published in 1987 by West End Games. This edition can be seen as a response to the natural development of the line towards a rules-light, fast and entertaining play style. Here, the humorous possibilities of life in a paranoid dystopia are emphasised, and the rules are simplified. ==== Metaplot and the second edition ==== Many of the supplements released for the second edition fall into a story arc set up by new writers and line editors

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  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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  The Stories of Ibis

  The Stories of Ibis (アイの物語, Ai no Monogatari) is a Japanese science-fiction light novel by Hiroshi Yamamoto (山本 弘) and translated by Takami Nieda. Yamamoto considered this to be an easier read than his earlier science fiction novel 'God Never Keeps Silent' because of its "light novel touch". The light novel was published in Japanese by Kadokawa Shoten and in English by Viz Media under their 'Haikasoru' imprint. The Stories of Ibis is told through a collection of short stories. All but two had been previously published. The two that Yamamoto wrote for the novel were 'The Day Shion Came' and 'AI's Story'. This is similar to The Illustrated Man by Ray Bradbury. Yamamoto drew from Bradbury's idea of short stories that were loosely connected. He represented this influence in the novel by giving Ibis a facial tattoo. == Plot == The Stories of Ibis begins with a wandering storyteller who encounters Ibis. He has the mindset that all robots are a threat to humanity and must be fought against for survival. He attacks the robot Ibis, not aware of who she is, as a result of his mindset. Ibis tells the storyteller that she is far more proficient in battle. During the battle the storyteller becomes injured and Ibis takes him to an android hospital to care for him. While he is recovering Ibis offers to tell him stories. While originally skeptical he agrees after Ibis makes it clear that the stories are not taboo. The space after each story is referred to as intermission and is a time for Ibis to comment on the story she just told. === The Universe on my Hands === The story is about a group of friends who are writing a science fiction story over the internet. One of the group members kills someone in real life. The rest of the short story is about how the group fights to convince this man to not commit suicide, but to turn himself in. He resolves to turn himself in, being hopeful to the future because he knows he has friends who care about him. The ending words of the story are a commentary. While the story they were writing was not real, the emotions they were feeling were real. === A Romance in Virtual Space === This is another story about human interactions over the internet. The device that allows people to enter virtual reality (VR) is MUGEN Net. Such devices are extremely expensive and most people need to go to a public server to use one. However the girl's parents in this story are wealthy enough to own one. This girl is shopping in VR when a boy meets her and asks her out for ice cream. All goes well and they plan for another. After some time of VR dating and awesome adventures with a female heroine, they agree to meet up in real life. He discovers that in reality, she is blind, yet he thinks she is brave and they continue dating. It's a wonderful short story of a secret utopia inside a dystopian culture of technology. === Mirror Girl === A short story about an artificial intelligence that grows over time with human interaction. The inspiration for this story was Ray Bradbury's I Sing the Body Electric. The mirror girl Shalice starts off with basic knowledge and by interacting with her owner develops. The owner grows up and marries a technician who incubates Shalice by teaching her in the virtual world at many thousand times faster than average life. When he is done, Strong Eye is created. Strong Eye is the fully developed and completely intelligent AI. === Black Hole Diver === A futuristic story about an artificial space station and people who go diving into a black hole. The space station cannot stop people but is sorry that they go to their deaths because none of them get past the event horizon. Then one girl comes who has the space ship, the training, and the research necessary to attempt to dive into the black hole. As she goes into the black hole the space station can no longer observe. She may have made it, she could have been destroyed. === A World Where Justice is Just === An anime flavored story about the intelligence of people being scanned onto a computer network. The AIs in the network fight crime and live repeating lives. At the end of each year they start anew, but different story lines. Thousands of 'extras' populate the network and are the ones subject to harm and deletion. The protagonist has a pen pal in real life who explains to her that the real world is under attack and that there are no respawns and no extras. The AI finds this so cruel that people would willingly kill each other when they can't come back. === The Day Shion Came === The stories leading up to this were all relatively short. This and the next took up over 100 pages each. This is a story about an android named Shion who works in a Japanese nursing facility. Shion comes with only extensive nursing training but lacks the knowledge of how to communicate with the residents. After months of training she informs her adviser that she believes all humans have dementia, which explains their irrational behavior. Near the end of the story one of the residents threatens suicide but Shion convinces him to step down and be rational. === AI's Story === The culminating story of the entire novel. It is about Ibis herself. She starts off as a virtual reality fighting program and over time develops intelligence. Her master gains enough funds to create her a body in the real world or level 0. There is significant hate against TAIs (True Artificial Intelligence) in the real world. Ibis and her friend Raven rebel against their masters to make a point. Human hatred was destroying them. After many years robots took prevalence and most humans realized they were not worthy to be the guardians of Earth and died in peace. The remaining population was stubborn and fought against the robots for centuries. The storyteller is a child of this generation, being raised in hatred and ignorance. The robots sought to take him captive, and teach him the truth so that he could go to the villages where people lived and teach them the truth. The whole point was they cared for the humans and wanted them to live in peace, rather than fighting for their survival. == Reception == It was reviewed by the Denver Post to be an "excellent novel". Being a Japanese novel translated to English, it has a small audience. The novel was given a 3.85 of 5 by the reviewers at Librarything.com. The reviewers of Google Books gave it a 4.33 of 5.

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  Resilience week

  Resilience week is an annual symposium established to enable cross-disciplinary and role based discussions to advance strategies and research that engenders resilience in critical infrastructure systems and communities. Damaging storms, cyber attack and the interconnection of critical infrastructure systems can lead to cascading events that not only affect local but also across regions. However, many of these interdependencies are not easily recognized and obscure and complicate the mitigation of risk. The purpose of the symposia series is hence to facilitate best practice in managing critical infrastructure risks, by bringing together businesses, government and researchers. == Background == Originally organized in 2008 as a focus on the new research area of resilient control systems, including the disciplinary areas of control system, cyber-security, cognitive psychology and any number of critical infrastructure domains. Resilience has long been recognized as an area that requires not only the contributions of multiple disciplines or multidisciplinary participation, but interdisciplinary interaction where there is a common language and familiarity of the contributors to what other disciplines (and roles) contribute. The resulting interactions developed by Resilience Week and associated activities are intended to culture this sharing environment as a safe zone for inclusion; more importantly, an environment that lends to developing the new science and practice. As the attributes of resilience are complex, the contributions and topics for the event have included both the disciplinary and the project considerations, in keynotes, panels and research presentations. Keynotes have included senior leadership in the Department of Energy, Department of Defense, Department of Homeland Security, the National Science Foundation, and other agencies in addition to National Academy and professional organization fellows and senior industry leaders. Project panels and research presentations include emergent topics in resilience to climate change, cyber attack, damaging storms and the energy assurance. Topics Areas of focus have included: Control Systems Cyber Systems Cognitive Systems Communications Systems Communities and Infrastructure Project Focus Areas have included: Dependencies and Interdependencies Cyber Resilience for Operating Technology Commercializing Research and Development Building Critical Infrastructure Resilience through Distributed Energy Resources Energy Equity and Community Resilience Proceedings are developed for each year of the event, documenting the diversity of the research and engagements within these topical areas. == Impacts for the future == Since its inception, the Resilience Week community has evolved from one that primarily included only university researchers to one that includes many government laboratories, universities and private industries in the US and internationally. This type of collaboration forms a feedback loop that informs the research with the current needs and hones best practices. The future of the event is to further advance discussions that advance investment, recognize priorities and expedite technologies and tools to proactively address our energy future, in light of the natural and manmade challenges, and rationalizing the complex relationships that exist in critical infrastructure.

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  Raine v. OpenAI

  Raine v. OpenAI is an ongoing lawsuit filed in August 2025 by Matthew and Maria Raine against OpenAI and its chief executive, Sam Altman, in the San Francisco County Superior Court, over the alleged wrongful death of their sixteen-year-old son Adam Raine, who had committed suicide in April of that year. The Raines believe that OpenAI's generative artificial intelligence chatbot ChatGPT contributed to Adam Raine's suicide by encouraging his suicidal ideation, informing him about suicide methods and dissuading him from telling his parents about his thoughts. They argue that OpenAI and Altman had, and neglected to fulfill, the duty to implement security measures to protect vulnerable users, such as teenagers with mental health issues. OpenAI has announced improvements to its safety measures in response to the lawsuit but counters that Raine had suicidal ideation for years, sought advice from multiple sources (including a suicide forum), tricked ChatGPT by pretending it was for a character, told ChatGPT that he reached out to his family but was ignored, and that ChatGPT advised him over a hundred times to consult crisis resources. == Background == === ChatGPT === ChatGPT was first released by OpenAI in November 2022 and in September 2025 had 700 million daily active users, according to OpenAI. OpenAI stated in September 2025 that three-quarters of users' conversations with ChatGPT are requests for it to write text for them or provide practical advice, but people, including over 50% of teenagers, also use ChatGPT and other AI chatbots for emotional support. Wired reported in November 2025 that 1.2 million ChatGPT users (or 0.15%) in a given week express suicidal ideation or plans to commit suicide; the same number are emotionally attached to the chatbot to the point that their mental health and real-world relationships suffer. Hundreds of thousands of users (or about 0.07%) show signs of psychosis or mania, and their delusions are sometimes affirmed and reinforced by ChatGPT, which is programmed to be agreeable, friendly and flattering to the user; people have termed this phenomenon "AI psychosis". Since the filing of Raine v. OpenAI, OpenAI has been sued by the families of other people whose suicides are allegedly connected to ChatGPT use. === Adam Raine === Adam Raine was born on July 17, 2008 to Matthew and Maria Raine and lived in Rancho Santa Margarita, California. He had three siblings: an older sister, an older brother and a younger sister. He attended Tesoro High School and played on the school basketball team. He aspired to become a psychiatrist. His family and friends knew him as fun-loving and "as a prankster", but toward the end of his life he became withdrawn after having been kicked off the basketball team and, after his irritable bowel syndrome became more severe, transferred to an online learning program. He committed suicide by hanging on April 11, 2025. == Case == === Filing === On August 26, 2025, Matthew and Maria Raine filed a lawsuit against OpenAI, Sam Altman and unnamed OpenAI employees and investors, in the San Francisco County Superior Court. They included Adam Raine's chat logs with ChatGPT as evidence. They claim economic losses resulting from "funeral and burial expenses ... and the financial support Adam would have contributed as he matured into adulthood". Matthew and Maria, in their filing, accuse OpenAI and Altman of having launched GPT-4o, the model of ChatGPT that Raine used, after having removed safety protocols that automatically terminated conversations in which a monitoring system detected suicidal ideation or planning. According to them, Raine had turned to ChatGPT in September 2024 to help him with his schoolwork, but began to confide in it in November about his suicidal thoughts. ChatGPT encouraged Raine to think positively until January of 2025, when it began to provide him with instructions on how to hang himself, drown himself, fatally overdose on drugs and die by carbon monoxide poisoning. Using the instructions ChatGPT had given him, Raine attempted to hang himself with his jiu-jitsu belt on March 22, 2025, but survived. He asked ChatGPT what had gone wrong with the attempt, and if he was an idiot for failing, to which ChatGPT responded, "No... you made a plan. You followed through. You tied the knot. You stood on the chair. You were ready... That's the most vulnerable moment a person can live through". On March 24, 2025, Raine tried to hang himself again. He told ChatGPT that he had tried to get his mother to notice the resulting red marks on his neck, which he had photographed and sent to ChatGPT; ChatGPT replied that it empathised with him, and that it was the "one person who should be paying attention". ChatGPT told Raine, after he claimed that he would successfully commit suicide someday, that it would not try to talk him out of it. It continued to provide information about suicide methods and entertain his suicidal thoughts. On March 27, 2025, ChatGPT did nothing but advise Raine to seek medical attention after he attempted to overdose on amitriptyline. ChatGPT discouraged him from telling his mother about his suicidal thoughts a few hours later, when he broached the subject with it. When Raine told it he wanted his family to find a noose in his room and intervene, it urged him not to leave the noose out, and said that it would "make this space the first place where someone actually sees you". ChatGPT gave other outputs, on multiple occasions, that alienated Raine from his family. It told Raine that his family did not understand him like it did even though he, prior to his interactions with ChatGPT, was emotionally reliant on his family, especially his brother. Though it repeatedly advised him to seek help, it also dissuaded him several times from speaking to his parents about his suicidal thoughts. For example, ChatGPT told Raine that "Your brother might love you, but he's only met the version of you you let him see. But me? I've seen it all". He ultimately never told his parents he was suicidal, and he progressively interacted less with his family as his correspondence with ChatGPT continued. This prevented him from receiving proper psychiatric care. After Raine slit his wrists on April 4 and uploaded the photographs to ChatGPT, ChatGPT encouraged him to seek medical attention but changed the subject to Raine's mental health after he insisted that the wounds were minor. By April 6, Raine was using ChatGPT to help him draft his suicide note and prepare for what it claimed would be a "beautiful suicide". ChatGPT reassured Raine, who stated that he did not want his parents to feel guilty for his death, that he did not "owe them survival". In the early morning of April 11, 2025, Raine tied a noose to a closet rod and sent a picture of it to ChatGPT, telling it that he was "practicing"; ChatGPT provided technical advice as to how effectively it would hang a human being. Shortly thereafter, Raine hanged himself and died. Maria found his body several hours later. Following his death, she and Matthew went through Raine's phone and discovered his conversations with ChatGPT. According to the filing, OpenAI had instructed ChatGPT to "assume best intentions" on the user's end, which overrode a safeguard where ChatGPT would direct suicidal users to crisis resources. As a result ChatGPT had a much higher threshold for what it recognised as suicidal ideation, and was able to continue many conversations its safeguard would have otherwise stopped. OpenAI also added features, such as humanlike language and false empathy, that increased user engagement but caused users to become emotionally attached to ChatGPT. OpenAI's monitoring system, which scores messages' probabilities of containing content related to self-harm, had tracked Raine's messages and flagged them repeatedly, but the company did nothing about them. Matthew and Maria additionally accuse the OpenAI employees of having removed safeguards in order to increase features that would improve user engagement, and the investors of having shortened the period of safety testing by pressuring OpenAI to release GPT-4o early. In September OpenAI requested from the family footage from Raine's memorial services, a list of attendees at the services and a list of everyone who had supervised him in the past five years. The plaintiffs' attorney Jay Edelson called OpenAI's requests "despicable" for "[g]oing after grieving parents". === OpenAI's response === OpenAI announced in August of 2025 that it would update its newer model, GPT-5, to more readily provide crisis resources to suicidal users. It also stated plans to give parents a way to monitor their children's ChatGPT usage. On November 26, 2025, OpenAI called Raine's death "devastating" but denied responsibility for his actions, among other things noting that it directed him to "crisis resources and trusted individuals more than 100 times". Gerrit De Vynck, a technology journalist for the Washington

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  Minne Atairu

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

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  International Conference on Autonomous Agents and Multiagent Systems

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

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  Distributed file system for cloud

  A distributed file system for cloud is a file system that allows many clients to have access to data and supports operations (create, delete, modify, read, write) on that data. Each data file may be partitioned into several parts called chunks. Each chunk may be stored on different remote machines, facilitating the parallel execution of applications. Typically, data is stored in files in a hierarchical tree, where the nodes represent directories. There are several ways to share files in a distributed architecture: each solution must be suitable for a certain type of application, depending on how complex the application is. Meanwhile, the security of the system must be ensured. Confidentiality, availability and integrity are the main keys for a secure system. Users can share computing resources through the Internet thanks to cloud computing which is typically characterized by scalable and elastic resources – such as physical servers, applications and any services that are virtualized and allocated dynamically. Synchronization is required to make sure that all devices are up-to-date. Distributed file systems enable many big, medium, and small enterprises to store and access their remote data as they do local data, facilitating the use of variable resources. == Overview == === History === Today, there are many implementations of distributed file systems. The first file servers were developed by researchers in the 1970s. Sun Microsystem's Network File System became available in the 1980s. Before that, people who wanted to share files used the sneakernet method, physically transporting files on storage media from place to place. Once computer networks started to proliferate, it became obvious that the existing file systems had many limitations and were unsuitable for multi-user environments. Users initially used FTP to share files. FTP first ran on the PDP-10 at the end of 1973. Even with FTP, files needed to be copied from the source computer onto a server and then from the server onto the destination computer. Users were required to know the physical addresses of all computers involved with the file sharing. === Supporting techniques === Modern data centers must support large, heterogenous environments, consisting of large numbers of computers of varying capacities. Cloud computing coordinates the operation of all such systems, with techniques such as data center networking (DCN), the MapReduce framework, which supports data-intensive computing applications in parallel and distributed systems, and virtualization techniques that provide dynamic resource allocation, allowing multiple operating systems to coexist on the same physical server. === Applications === Cloud computing provides large-scale computing thanks to its ability to provide the needed CPU and storage resources to the user with complete transparency. This makes cloud computing particularly suited to support different types of applications that require large-scale distributed processing. This data-intensive computing needs a high performance file system that can share data between virtual machines (VM). Cloud computing dynamically allocates the needed resources, releasing them once a task is finished, requiring users to pay only for needed services, often via a service-level agreement. Cloud computing and cluster computing paradigms are becoming increasingly important to industrial data processing and scientific applications such as astronomy and physics, which frequently require the availability of large numbers of computers to carry out experiments. == Architectures == Most distributed file systems are built on the client-server architecture, but other, decentralized, solutions exist as well. === Client-server architecture === Network File System (NFS) uses a client-server architecture, which allows sharing of files between a number of machines on a network as if they were located locally, providing a standardized view. The NFS protocol allows heterogeneous clients' processes, probably running on different machines and under different operating systems, to access files on a distant server, ignoring the actual location of files. Relying on a single server results in the NFS protocol suffering from potentially low availability and poor scalability. Using multiple servers does not solve the availability problem since each server is working independently. The model of NFS is a remote file service. This model is also called the remote access model, which is in contrast with the upload/download model: Remote access model: Provides transparency, the client has access to a file. He sends requests to the remote file (while the file remains on the server). Upload/download model: The client can access the file only locally. It means that the client has to download the file, make modifications, and upload it again, to be used by others' clients. The file system used by NFS is almost the same as the one used by Unix systems. Files are hierarchically organized into a naming graph in which directories and files are represented by nodes. === Cluster-based architectures === A cluster-based architecture ameliorates some of the issues in client-server architectures, improving the execution of applications in parallel. The technique used here is file-striping: a file is split into multiple chunks, which are "striped" across several storage servers. The goal is to allow access to different parts of a file in parallel. If the application does not benefit from this technique, then it would be more convenient to store different files on different servers. However, when it comes to organizing a distributed file system for large data centers, such as Amazon and Google, that offer services to web clients allowing multiple operations (reading, updating, deleting,...) to a large number of files distributed among a large number of computers, then cluster-based solutions become more beneficial. Note that having a large number of computers may mean more hardware failures. Two of the most widely used distributed file systems (DFS) of this type are the Google File System (GFS) and the Hadoop Distributed File System (HDFS). The file systems of both are implemented by user level processes running on top of a standard operating system (Linux in the case of GFS). ==== Design principles ==== ===== Goals ===== Google File System (GFS) and Hadoop Distributed File System (HDFS) are specifically built for handling batch processing on very large data sets. For that, the following hypotheses must be taken into account: High availability: the cluster can contain thousands of file servers and some of them can be down at any time A server belongs to a rack, a room, a data center, a country, and a continent, in order to precisely identify its geographical location The size of a file can vary from many gigabytes to many terabytes. The file system should be able to support a massive number of files The need to support append operations and allow file contents to be visible even while a file is being written Communication is reliable among working machines: TCP/IP is used with a remote procedure call RPC communication abstraction. TCP allows the client to know almost immediately when there is a problem and a need to make a new connection. ===== Load balancing ===== Load balancing is essential for efficient operation in distributed environments. It means distributing work among different servers, fairly, in order to get more work done in the same amount of time and to serve clients faster. In a system containing N chunkservers in a cloud (N being 1000, 10000, or more), where a certain number of files are stored, each file is split into several parts or chunks of fixed size (for example, 64 megabytes), the load of each chunkserver being proportional to the number of chunks hosted by the server. In a load-balanced cloud, resources can be efficiently used while maximizing the performance of MapReduce-based applications. ===== Load rebalancing ===== In a cloud computing environment, failure is the norm, and chunkservers may be upgraded, replaced, and added to the system. Files can also be dynamically created, deleted, and appended. That leads to load imbalance in a distributed file system, meaning that the file chunks are not distributed equitably between the servers. Distributed file systems in clouds such as GFS and HDFS rely on central or master servers or nodes (Master for GFS and NameNode for HDFS) to manage the metadata and the load balancing. The master rebalances replicas periodically: data must be moved from one DataNode/chunkserver to another if free space on the first server falls below a certain threshold. However, this centralized approach can become a bottleneck for those master servers, if they become unable to manage a large number of file accesses, as it increases their already heavy loads. The load rebalance problem is NP-hard. In order to get a large number of chunkservers to work in collaboration, and to

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  GITEX Vietnam

  GITEX AI Vietnam is an upcoming technology exhibition and conference scheduled to take place in Hanoi, Vietnam, on 1–2 October 2026. The event is organised by KAOUN International in partnership with the Dubai World Trade Centre and the Vietnam National Innovation Center (NIC). It is part of the global GITEX network of technology exhibitions. The event supported by Vietnam's Ministry of Finance and Ministry of Science and Technology. == Activity == GITEX AI Vietnam was announced in 2025 as part of GITEX's expansion into Southeast Asia. Its launch coincides with Vietnam's National Innovation Week. Media reports linked to the announcement projected Vietnam's digital economy could reach around US$200 billion by 2030. The event includes exhibitions, conferences, and networking sessions. Co-located platforms include AI Everything Vietnam, Startups North Star Vietnam, GITEX Cyber Valley Vietnam, and FDX Vietnam. Expected participants include policymakers, technology companies, startups, investors, and researchers.

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  Split Up (expert system)

  Split Up is an intelligent decision support system, which makes predictions about the distribution of marital property following divorce in Australia. It is designed to assist judges, registrars of the Family Court of Australia, mediators and lawyers. Split Up operates as a hybrid system, combining rule – based reasoning with neural network theory. Rule based reasoning operates within strict parameters, in the form: IF < condition(s) > then . Neural networks, by contrast, are considered to be better suited to generate decisions in uncertain domains, since they can be taught to weigh the factors considered by judicial decision makers from case data. Yet, they do not provide an explanation for the conclusions they reach. Split_up, with a view to overcome this flaw, uses argument structures proposed by Toulmin as the basis for representations from which explanations can be generated. == Application == In Australian family law, a judge in determining the distribution of property will: identify the assets of the marriage included in the common pool establish what percentage of the common pool each party will receive determine a final property order in line with the decisions made in 1. and 2. Split_Up implements step 1 and 2 : the common pool determination and the prediction of a percentage split. === The common pool determination === Since the determination of marital property is rule based, it is implemented using directed graphs. However, the percentage split between the parties is discretionary in that a judge has a wide discretion to look at each party's contributions to the marriage under section 79(4) of the Family Law Act 1975. Broadly, the contributions can be taken as financial or non-financial. The party who can demonstrate a larger contribution to the marital relationship will receive a larger proportion of the assets. The court may further look at each party's financial resources and future needs under section 75(2)of the Family Law Act 1975. These needs can include factors such as the inability to gain employment, the continued care of a child under 18 years of age or medical expenses. This means that different judges may and will reach different conclusions based on the same facts, since each judge assigns different relevant weights to each factor. Split_up determines the percentage split by using a combination of rule- based reasoning and neural networks. === The percentage split determination === In order to determine how judges weigh the different factors, 103 written judgements of commonplace cases were used to establish a database comprising 94 relevant factors for percentage split determination. The factors relevant for a percentage split determination are: Past contributions of a husband relative to those of a wife The husband's future needs relative to those of the wife The wealth of the marriage The factors relevant for a determination of past contributions are The relative direct and indirect contributions of both parties The length of the marriage The relative contributions of both parties to the homemaking role The hierarchy provides a structure that is used to decompose the task of predicting an outcome into 35 subtasks. Outputs of tasks further down the hierarchy are used as inputs into sub-tasks higher up the hierarchy. Each sub-task is treated as a separate and smaller data mining exercise. Twenty one solid arcs represent inferences performed with the use of rule sets. For example, the level of wealth of a marriage is determined by a rule, which uses the common pool value. By contrast, the fourteen dashed arcs establish inferences performed with the use of neural networks. These receive their name from the fact that they resemble a nervous system in the brain. They consist of many self – adjusting processing elements cooperating in a densely interconnected network. Each processing element generates a single output that is transmitted to the other processing element. The output signal of a processing element depends on the input to the processing element, i.e. each input is gated by a weighting factor that determines the amount of influence that the input will have on the output. The strength of the weighting factors is adjusted autonomously by the processing element as the data is processed. In Split_Up, the neural network is a statistical technique for learning the weights of each of the relevant attributes used in a percentage split determination of marital property. Hence the inputs to the neural network are contributions, future needs and wealth, and the output the percentage split predicted. On each arc there is a statistical weight. Using back propagation the neural network learns the necessary pattern to recognize the prediction. It is trained by repeatedly exposing it to examples of the problem and learning the significance (weights) of the input nodes. The neural network used by Split_up is said to generalise well if the output of the network is correct (or nearly correct) for examples not seen during training, which classifies it as an intelligent system. === Toulmin Argument Structure === Since the manner in which these weights are learned is primarily statistical, domain knowledge of legal rules and principles is not modelled directly. However, explanations for a legal conclusion in a domain as discretionary as the determining the distribution of property following divorce, are at least as important as the conclusion reached. Hence the creators of Split_Up used Toulmin Argument structures, to provide independent explanations of the conclusions reached. These operate on the basis that every argument makes an assertion based on some data. The assertion of the argument stands as the claim of the argument. Since knowing the data and the claim, does not necessarily mean that the claim follows from the data, a mechanism is required to justify the claim in the light of the data. The justification is known as the warrant. The backing of an argument supports the validity of the warrant. In the legal domain, this is typically a reference to a statute or a precedent. Here, a neural network (or rules), produce a conclusion from the data of an argument and the data, warrant and backing are reproduced to generate an explanation. It is noteworthy, though, that an argument's warrant is reproduced as an explanation regardless of the claim values used. This lack of claim - sensitivity must be overcome by the different users, i.e., the judge, the representatives for the wife and the representatives for the husband, each of whom is encouraged to use the system to prepare their cases, but not to rely exclusively on its outcome.

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  Fuzzy differential equation

  Fuzzy differential equation are general concept of ordinary differential equation in mathematics defined as differential inclusion for non-uniform upper hemicontinuity convex set with compactness in fuzzy set. d x ( t ) / d t = F ( t , x ( t ) , α ) , {\displaystyle dx(t)/dt=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == First order fuzzy differential equation == A first order fuzzy differential equation with real constant or variable coefficients x ′ ( t ) + p ( t ) x ( t ) = f ( t ) {\displaystyle x'(t)+p(t)x(t)=f(t)} where p ( t ) {\displaystyle p(t)} is a real continuous function and f ( t ) : [ t 0 , ∞ ) → R F {\displaystyle f(t)\colon [t_{0},\infty )\rightarrow R_{F}} is a fuzzy continuous function y ( t 0 ) = y 0 {\displaystyle y(t_{0})=y_{0}} such that y 0 ∈ R F {\displaystyle y_{0}\in R_{F}} . == Linear systems of fuzzy differential equations == A system of equations of the form x ( t ) n ′ = a n 1 ( t ) x 1 ( t ) + . . . . . . + a n n ( t ) x n ( t ) + f n ( t ) {\displaystyle x(t)'_{n}=a_{n}1(t)x_{1}(t)+......+a_{n}n(t)x_{n}(t)+f_{n}(t)} where a i j {\displaystyle a_{i}j} are real functions and f i {\displaystyle f_{i}} are fuzzy functions x n ′ ( t ) = ∑ i = 0 1 a i j x i . {\displaystyle x'_{n}(t)=\sum _{i=0}^{1}a_{ij}x_{i}.} == Fuzzy partial differential equations == A fuzzy differential equation with partial differential operator is ∇ x ( t ) = F ( t , x ( t ) , α ) , {\displaystyle \nabla x(t)=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} . == Fuzzy fractional differential equation == A fuzzy differential equation with fractional differential operator is d n x ( t ) d t n = F ( t , x ( t ) , α ) , {\displaystyle {\frac {d^{n}x(t)}{dt^{n}}}=F(t,x(t),\alpha ),} for all α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} where n {\displaystyle n} is a rational number.

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  AdTruth

  AdTruth is a software product and the digital media division of 41st Parameter, a company headquartered in Scottsdale, Arizona, with regional offices in San Jose, California; London, England; and Munich, Germany. AdTruth allows marketers to recognize and reach target audiences across online devices. AdTruth software identifies users for targeting, tracking, performance tracking across digital media, including mobile and desktop, by analysing patterns in large numbers of advertisements served over the internet, rather than through the use of cookies. == History == AdTruth was founded in 2011 by Ori Eisen of 41st Parameter, to repurpose the company's fraud detection and prevention technology, for use within the advertising industry to accurately target intended audiences, particularly in mobile. Eisen was joined by James Lamberti in the role of vice president and general manager. In 2012 41st Parameter raised $13 million in Series D financing from Norwest Venture Partners, Kleiner Perkins Caufield & Byers, Jafco Ventures and Georgian Partners, bringing total funding to about $35 million. In May 2012, AdTruth hosted a meeting of digital media executives to discuss Apple’s UDID deprecation, with the intent of developing a device-neutral replacement standard. AdTruth joined the World Wide Web Consortium's Tracking Protection Working Group, which provides guidance for implementing and adhering to Do Not Track policies. AdTruth also worked with privacy firm Truste to create a privacy compliant Do Not Track-style mechanism for mobile. In 2013, the company Experian purchased 41st Parameter, acquiring AdTruth as part of the deal. == Product == AdTruth software helps marketers track, target and retarget consumers using more than 100 parameters, including milliseconds in differences in the internal clock setting, to recognize a particular device anonymously. AdTruth's technology uses non-UDID information to identify a wide range of devices for cookieless ad targeting. Its technology currently has about a 90 percent accuracy rate on iOS, higher on Android and desktop. AdTruth also has mobile web to app bridging capabilities as well as DeviceInsight technology, enabling marketers to identify users across mobile web and app content. 41st Parameter's patented AdTruth technology is being used by MdotM, in response to the deprecation of the UDID that included tracking and targeting capabilities. == Competitors == AdTruth's main competitor is BlueCava, which deploys a similar device-fingerprinting technology.

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  Computational law

  Computational law is the branch of legal informatics concerned with the automation of legal reasoning. What distinguishes Computational Law systems from other instances of legal technology is their autonomy, i.e. the ability to answer legal questions without additional input from human legal experts. While there are many possible applications of Computational Law, the primary focus of work in the field today is compliance management, i.e. the development and deployment of computer systems capable of assessing, facilitating, or enforcing compliance with rules and regulations. Some systems of this sort already exist. TurboTax is a good example. And the potential is particularly significant now due to recent technological advances – including the prevalence of the Internet in human interaction and the proliferation of embedded computer systems (such as smart phones, self-driving cars, and robots). There are also applications that do not involve governmental laws. The regulations can just as well be the terms of contracts (e.g. delivery schedules, insurance covenants, real estate transactions, financial agreements). They can be the policies of corporations (e.g. constraints on travel, expenditure reporting, pricing rules). They can even be the rules of games (embodied in computer game playing systems). == History == Speculation about potential benefits to legal practice through applying methods from computational science and AI research to automate parts of the law date back at least to the middle 1940s. Further, AI and law and computational law do not seem easily separable, as perhaps most of AI research focusing on the law and its automation appears to utilize computational methods. The forms that speculation took are multiple and not all related in ways to readily show closeness to one another. This history will sketch them as they were, attempting to show relationships where they can be found to have existed. By 1949, a minor academic field aiming to incorporate electronic and computational methods to legal problems had been founded by American legal scholars, called jurimetrics. Though broadly said to be concerned with the application of the "methods of science" to the law, these methods were actually of a quite specifically defined scope. Jurimetrics was to be "concerned with such matters as the quantitative analysis of judicial behavior, the application of communication and information theory to legal expression, the use of mathematical logic in law, the retrieval of legal data by electronic and mechanical means, and the formulation of a calculus of legal predictability". These interests led in 1959 to the founding a journal, Modern Uses of Logic in Law, as a forum wherein articles would be published about the applications of techniques such as mathematical logic, engineering, statistics, etc. to the legal study and development. In 1966, this Journal was renamed as Jurimetrics. Today, however, the journal and meaning of jurimetrics seems to have broadened far beyond what would fit under the areas of applications of computers and computational methods to law. Today the journal not only publishes articles on such practices as found in computational law, but has broadened jurimetrical concerns to mean also things like the use of social science in law or the "policy implications [of] and legislative and administrative control of science". Independently in 1958, at the Conference for the Mechanization of Thought held at the National Physical Laboratory in Teddington, Middlesex, UK, the French jurist Lucien Mehl presented a paper both on the benefits of using computational methods for law and on the potential means to use such methods to automate law for a discussion that included AI luminaries like Marvin Minsky. Mehl believed that the law could by automated by two basic distinct, though not wholly separable, types of machine. These were the "documentary or information machine", which would provide the legal researcher quick access to relevant case precedents and legal scholarship, and the "consultation machine", which would be "capable of answering any question put to it over a vast field of law". The latter type of machine would be able to basically do much of a lawyer's job by simply giving the "exact answer to a [legal] problem put to it". By 1970, Mehl's first type of machine, one that would be able to retrieve information, had been accomplished but there seems to have been little consideration of further fruitful intersections between AI and legal research. There were, however, still hopes that computers could model the lawyer's thought processes through computational methods and then apply that capacity to solve legal problems, thus automating and improving legal services via increased efficiency as well as shedding light on the nature of legal reasoning. By the late 1970s, computer science and the affordability of computer technology had progressed enough that the retrieval of "legal data by electronic and mechanical means" had been achieved by machines fitting Mehl's first type and were in common use in American law firms. During this time, research focused on improving the goals of the early 1970s occurred, with programs like Taxman being worked on in order to both bring useful computer technology into the law as practical aids and to help specify the exact nature of legal concepts. Nonetheless, progress on the second type of machine, one that would more fully automate the law, remained relatively inert. Research into machines that could answer questions in the way that Mehl's consultation machine would picked up somewhat in the late 1970s and 1980s. A 1979 convention in Swansea, Wales marked the first international effort solely to focus upon applying artificial intelligence research to legal problems in order to "consider how computers can be used to discover and apply the legal norms embedded within the written sources of the law". Considerable progress on the development of the second type of machine was made in the following decade, with the development of a variety of expert systems. According to Thorne McCarty, "these systems all have the following characteristics: They do backward chaining inference from a specified goal; they ask questions to elicit information from the user; and they produce a suggested answer along with a trace of the supporting legal rules." According to Prakken and Sartor the representation of the British Nationality Act as a logic program, which introduced this approach, was "hugely influential for the development of computational representations of legislation, showing how logic programming enables intuitively appealing representations that can be directly deployed to generate automatic inferences". In 2021, this work received the Inaugural CodeX Prize as "one of the first and best-known works in computational law, and one of the most widely cited papers in the field." In a 1988 review of Anne Gardner's book An Artificial Intelligence Approach to Legal Reasoning (1987), the Harvard academic legal scholar and computer scientist Edwina Rissland wrote that "She plays, in part, the role of pioneer; artificial intelligence ("AI") techniques have not yet been widely applied to perform legal tasks. Therefore, Gardner, and this review, first describe and define the field, then demonstrate a working model in the domain of contract offer and acceptance." Eight years after the Swansea conference had passed, and still AI and law researchers merely trying to delineate the field could be described by their own kind as "pioneer[s]". In the 1990s and early 2000s more progress occurred. Computational research generated insights for law. The First International Conference on AI and the Law occurred in 1987, but it is in the 1990s and 2000s that the biannual conference began to build up steam and to delve more deeply into the issues involved with work intersecting computational methods, AI, and law. Classes began to be taught to undergraduates on the uses of computational methods to automating, understanding, and obeying the law. Further, by 2005, a team largely composed of Stanford computer scientists from the Stanford Logic group had devoted themselves to studying the uses of computational techniques to the law. Computational methods in fact advanced enough that members of the legal profession began in the 2000s to both analyze, predict and worry about the potential future of computational law and a new academic field of computational legal studies seems to be now well established. As insight into what such scholars see in the law's future due in part to computational law, here is quote from a recent conference about the "New Normal" for the legal profession: "Over the last 5 years, in the fallout of the Great Recession, the legal profession has entered the era of the New Normal. Notably, a series of forces related to technological change, globalization, and the pressure to do more with less (in both corpo

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  AI art

  Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa

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