AI Generator Xi Pics

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NAPLPS

NAPLPS (North American Presentation Layer Protocol Syntax) is a graphics language for use originally with videotex and teletext services. NAPLPS was developed from the Telidon system developed in Canada, with a small number of additions from AT&T Corporation. The basics of NAPLPS were later used as the basis for several other microcomputer-based graphics systems. == History == The Canadian Communications Research Centre (CRC), based in Ottawa, had been working on various graphics systems since the late 1960s, much of it led by Herb Bown. Through the 1970s they turned their attention to building out a system of "picture description instructions", which encoded graphics commands as a text stream. Graphics were encoded as a series of instructions (graphics primitives) each represented by a single ASCII character. Graphic coordinates were encoded in multiple 6-bit strings of XY coordinate data, flagged to place them in the printable ASCII range so that they could be transmitted with conventional text transmission techniques. ASCII SI/SO characters were used to differentiate the text from graphic portions of a transmitted "page". These instructions were decoded by separate programs to produce graphics output, on a plotter for instance. Other work produced a fully interactive version. In 1975, the CRC gave a contract to Norpak to develop an interactive graphics terminal that could decode the instructions and display them on a color display. During this period, a number of companies were developing the first teletext systems, notably the BBC's Ceefax system. Ceefax encoded character data into the lines in the vertical blanking interval of normal television signals where they could not be seen on-screen, and then used a buffer and decoder in the user's television to convert these into "pages" of text on the display. The Independent Broadcasting Authority quickly introduced their own ORACLE system, and the two organizations subsequently agreed to use a single standard, the "Broadcast Teletext Specification". This later became World System Teletext. At about the same time, other organizations were developing videotex systems, similar to teletext except they used modems to transmit their data instead of television signals. This was potentially slower and used up a telephone line, but had the major advantage of allowing the user to transmit data back to the sender. The UK's General Post Office developed a system using the Ceefax/ORACLE standard, launching it as Prestel, while France prepared the first steps for its ultimately very successful Minitel system, using a rival display standard called Antiope. By 1977, the Norpak system was running, and from this work the CRC decided to create their own teletext/videotext system. Unlike the systems being rolled out in Europe, the CRC decided from the start that the system should be able to run on any combination of communications links. For instance, it could use the vertical blanking interval to send data to the user, and a modem to return selections to the servers. It could be used in a one-way or two-way system. In teletext mode, character codes were sent to users' televisions by encoding them as dot patterns in the vertical blanking interval of the video signal. Various technical "tweaks" and details of the NTSC signals used by North American televisions allowed the downstream videotex channel to increase to 600 bit/s, about twice that used in the European systems. In videotext mode, Bell 202 modems were typical, offering a 1,200 bit/s download rate. A set top box attached to the TV decoded these signals back into text and graphics pages, which the user could select among. The system was publicly launched as Telidon on August 15, 1978. Compared to the European standards, the CRC system was faster, bi-directional, and offered real graphics as opposed to simple character graphics. The downside of the system was that it required much more advanced decoders, typically featuring Zilog Z80 or Motorola 6809 processors with RGB and/or RF output. The Innovation, Science and Economic Development Canada (then Department of Communications) launched a four-year plan to fund public roll-outs of the technology in an effort to spur the development of a commercial Telidon system. AT&T Corporation was so impressed by Telidon that they decided to join the project. They added a number of useful extensions, notably the ability to define original graphics commands (macro) and character sets (DRCS). They also tabled algorithms for proportionally spaced text, which greatly improved the quality of the displayed pages. A joint CSA/ANSI working group (X3L2.1) revised the specifications, which were submitted for standardization. In 1983, they became CSA T500 and ANSI X3.110, or NAPLPS. The data encoding system was also standardized as the NABTS (North American Broadcast Teletext Specification) protocol. Business models for Telidon services were poorly developed. Unlike the UK, where teletext was supported by one of only two large companies whose whole revenue model was based on a read-only medium (television), in North America Telidon was being offered by companies who worked on a subscriber basis. == One-way systems == Telidon-based teletext was tested in a few North American trials in the early 1980s — CBC IRIS, TVOntario, MTS-sponsored Project IDA, to name a few. NAPLPS was also part of the NABTS teletext standard, for the encoding and display of teletext pages. In the late 1980s and early 1990s, affiliates of the regional sports network group SportsChannel ran a service called Sports Plus Network, which ran sports news and scores while SportsChannel was not otherwise on the air. The screens, which frequently featured team logos or likenesses of players in addition to text, were drawn entirely with NAPLPS graphics and resembled the loading of Prodigy pages over a modem, though slightly faster. == Two-way systems == Various two-way systems using NAPLPS appeared in North America in the early 1980s. The biggest North American examples were Knight Ridder's Viewtron (based in Miami) and the Los Angeles Times' Gateway service (based in Orange County). Both used the Sceptre NAPLPS terminal from AT&T. The Sceptre contained a slow modem that connected over the consumer's telephone line to host computers. The Sceptre was expensive whether purchased or rented. Despite huge investments by their parent companies, neither Viewtron nor Gateway lasted into the second half of the decade. Another system, Keyfax, was developed by Keycom Electronic Publishing, a joint venture of Honeywell, Centel (since acquired by Sprint) and Field Enterprises, then-owner of the Chicago Sun-Times newspaper. Keyfax had originally been a WST teletext service, broadcast overnights on Field's Chicago television station WFLD-32 and through the VBI of both WFLD and national superstation WTBS; the decision was made to convert Keyfax into a subscription service, using a proprietary NAPLPS terminal device in a last-ditch effort to save the service. It did not work and Keyfax had ceased operations by the end of 1986. Other early-1980s NAPLPS technology was deployed in Canada, both as a way for rural Canadians to get news and weather information and as the platform for touchscreen information kiosks. In Vancouver these were featured at Expo 86. The kiosks became ubiquitous in Toronto under the name Teleguide, and were deployed in many shopping centres and at major tourist attractions. The latter city was the North American nexus of NAPLPS and the home of Norpak, the most successful of NAPLPS-oriented developers. Norpak created and sold hardware and software for NAPLPS development and display. TVOntario also developed NAPLPS content creation software. London, Ontario - based Cableshare used NAPLPS as the basis of touch-screen information kiosks for shopping malls, the flagship of which was deployed at Toronto's Eaton Centre. The system relied on an 8085-based microcomputer which drove several NAPLPS terminals fitted with touch screens, all communicating via Datapac to a back end database. The system offered news, weather and sports information along with shopping mall guides and coupons. Cableshare also developed and sold a leading NAPLPS page creation utility called the "Picture Painter." In the late 1980s, Tribune Media Services (TMS) and the Associated Press operated a cable television channel called AP News Plus that provided NAPLPS-based news screens to cable television subscribers in many U.S. cities. The news pages were created and edited by TMS staffers working on an Atex editing system in Orlando, Florida, and sent by satellite to NAPLPS decoder devices located at the local cable television companies. Among the firms providing technology to TMS and the Associated Press for the AP News Plus channel was Minneapolis-based Electronic Publishers Inc. (1985–1988). In 1981, two amateur radio operators (VE3FTT and VE3GQW) received special permission from the Canad
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Your AI Slop Bores Me

Your AI Slop Bores Me (stylized in all lowercase) is a website and social experiment created by programmer Mihir Maroju. Serving as a parody of large language models (LLMs) like ChatGPT and Claude, all questions and image prompts posed by users are answered by other, randomly-selected human users of the site. As of March 2026, the site has reached 50 million hits and sits at 16,000 concurrent users. == Background == In an interview with Fast Company, Maroju said he was inspired to create the site by his frustration with AI proliferating the internet with AI generated content, saying the site came from "a frustration for AI art and its proliferation, making artists' lives worse and also just filling the internet with low-effort generic slop". == Overview == The site has a credit system, in which a first-time user will be given 1 credit for free. Every 10 minutes, if a user has 0 credits, they will receive 2 credits. Once the credits are used up, the user can no longer do prompts unless the user earns them. The user can earn credits by responding to other user's prompts by "larping as AI" while given a 75-second time limit. Prompts can either be for a written response, or a drawing for the other user to fulfill the prompt. The maximum amount of credits a user can have is 6 credits, and cannot exceed the maximum limit. If the prompting user activates "thinking mode", the countdown is extended to 150 seconds for the cost of 2 credits. == Reception == The site has garnered attention and praise from X users, and across many online communities. The Daily Dot's Rachel Kiley wrote that "the best part about the game is that there's really no right or wrong way to do it. Humans aren't LLMs trained on copyrighted material and the whole of the free internet, but we do retain a certain amount of the information we've learned from those things over the course of our lives, while also being capable of creativity". Chris Taylor of Mashable called the site "amateurish and charming". Aftermath's Nicole Carpenter wrote that the site reminded her of "the human touch of chaos".
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Speech synthesis

Speech synthesis is the artificial production of human speech. A computer system used for this purpose is called a speech synthesizer, and can be implemented in software or hardware products. A text-to-speech (TTS) system converts normal language text into speech; other systems render symbolic linguistic representations like phonetic transcriptions into speech. The reverse process is speech recognition. Synthesized speech can be created by concatenating pieces of recorded speech that are stored in a database. Systems differ in the size of the stored speech units; a system that stores phones or diphones provides the largest output range, but may lack clarity. For specific usage domains, the storage of entire words or sentences allows for high-quality output. Alternatively, a synthesizer can incorporate a model of the vocal tract and other human voice characteristics to create a completely "synthetic" voice output. The quality of a speech synthesizer is judged by its similarity to the human voice and by its ability to be understood clearly. An intelligible text-to-speech program allows people with visual impairments or reading disabilities to listen to written words on a home computer. The earliest computer operating system to have included a speech synthesizer was Unix in 1974, through the Unix speak utility. In 2000, Microsoft Sam was the default text-to-speech voice synthesizer used by the narrator accessibility feature, which shipped with all Windows 2000 operating systems, and subsequent Windows XP systems. A text-to-speech system (or "engine") is composed of two parts: a front-end and a back-end. The front-end has two major tasks. First, it converts raw text containing symbols like numbers and abbreviations into the equivalent of written-out words. This process is often called text normalization, pre-processing, or tokenization. The front-end then assigns phonetic transcriptions to each word, and divides and marks the text into prosodic units, like phrases, clauses, and sentences. The process of assigning phonetic transcriptions to words is called text-to-phoneme or grapheme-to-phoneme conversion. Phonetic transcriptions and prosody information together make up the symbolic linguistic representation that is output by the front-end. The back-end—often referred to as the synthesizer—then converts the symbolic linguistic representation into sound. In certain systems, this part includes the computation of the target prosody (pitch contour, phoneme durations), which is then imposed on the output speech. == History == Long before the invention of electronic signal processing, some people tried to build machines to emulate human speech. There were also legends of the existence of "Brazen Heads", such as those involving Pope Silvester II (d. 1003 AD), Albertus Magnus (1198–1280), and Roger Bacon (1214–1294). In 1779, the German-Danish scientist Christian Gottlieb Kratzenstein won the first prize in a competition announced by the Russian Imperial Academy of Sciences and Arts for models he built of the human vocal tract that could produce the five long vowel sounds (in International Phonetic Alphabet notation: [aː], [eː], [iː], [oː] and [uː]). There followed the bellows-operated "acoustic-mechanical speech machine" of Wolfgang von Kempelen of Pressburg, Hungary, described in a 1791 paper. This machine added models of the tongue and lips, enabling it to produce consonants as well as vowels. In 1837, Charles Wheatstone produced a "speaking machine" based on von Kempelen's design, and in 1846, Joseph Faber exhibited the "Euphonia". In 1923, Paget resurrected Wheatstone's design. In the 1930s, Bell Labs developed the vocoder, which automatically analyzed speech into its fundamental tones and resonances. From his work on the vocoder, Homer Dudley developed a keyboard-operated voice-synthesizer called The Voder (Voice Demonstrator), which he exhibited at the 1939 New York World's Fair. Franklin S. Cooper and his colleagues at Haskins Laboratories built the pattern playback in the late 1940s and completed it in 1950. There were several different versions of this hardware device; only one currently survives. The machine converts pictures of the acoustic patterns of speech in the form of a spectrogram back into sound. Using this device, Alvin Liberman and colleagues discovered acoustic cues for the perception of phonetic segments (consonants and vowels). === Electronic devices === The first computer-based speech-synthesis systems originated in the late 1950s. Noriko Umeda et al. developed the first general English text-to-speech system in 1968, at the Electrotechnical Laboratory in Japan. In 1961, physicist John Larry Kelly, Jr and his colleague Louis Gerstman used an IBM 704 computer to synthesize speech, an event among the most prominent in the history of Bell Labs. Kelly's voice recorder synthesizer (vocoder) recreated the song "Daisy Bell", with musical accompaniment from Max Mathews. Coincidentally, Arthur C. Clarke was visiting his friend and colleague John Pierce at the Bell Labs Murray Hill facility. Clarke was so impressed by the demonstration that he used it in the climactic scene of his screenplay for his novel 2001: A Space Odyssey, where the HAL 9000 computer sings the same song as astronaut Dave Bowman puts it to sleep. Despite the success of purely electronic speech synthesis, research into mechanical speech-synthesizers continues. Linear predictive coding (LPC), a form of speech coding, began development with the work of Fumitada Itakura of Nagoya University and Shuzo Saito of Nippon Telegraph and Telephone (NTT) in 1966. Further developments in LPC technology were made by Bishnu S. Atal and Manfred R. Schroeder at Bell Labs during the 1970s. LPC was later the basis for early speech synthesizer chips, such as the Texas Instruments LPC Speech Chips used in the Speak & Spell toys from 1978. In 1975, Fumitada Itakura developed the line spectral pairs (LSP) method for high-compression speech coding, while at NTT. From 1975 to 1981, Itakura studied problems in speech analysis and synthesis based on the LSP method. In 1980, his team developed an LSP-based speech synthesizer chip. LSP is an important technology for speech synthesis and coding, and in the 1990s was adopted by almost all international speech coding standards as an essential component, contributing to the enhancement of digital speech communication over mobile channels and the internet. In 1975, MUSA was released, and was one of the first Speech Synthesis systems. It consisted of a stand-alone computer hardware and a specialized software that enabled it to read Italian. A second version, released in 1978, was also able to sing Italian in an "a cappella" style. Dominant systems in the 1980s and 1990s were the DECtalk system, based largely on the work of Dennis Klatt at MIT, and the Bell Labs system; the latter was one of the first multilingual language-independent systems, making extensive use of natural language processing methods. Handheld electronics featuring speech synthesis began emerging in the 1970s. One of the first was the Telesensory Systems Inc. (TSI) Speech+ portable calculator for the blind in 1976. Other devices had primarily educational purposes, such as the Speak & Spell toy produced by Texas Instruments in 1978. Fidelity released a speaking version of its electronic chess computer in 1979. The first video game to feature speech synthesis was the 1980 shoot 'em up arcade game, Stratovox (known in Japan as Speak & Rescue), from Sun Electronics. The first personal computer game with speech synthesis was Manbiki Shoujo (Shoplifting Girl), released in 1980 for the PET 2001, for which the game's developer, Hiroshi Suzuki, developed a "zero cross" programming technique to produce a synthesized speech waveform. Another early example, the arcade version of Berzerk, also dates from 1980. The Milton Bradley Company produced the first multi-player electronic game using voice synthesis, Milton, in the same year. In 1976, Computalker Consultants released their CT-1 Speech Synthesizer. Designed by D. Lloyd Rice and Jim Cooper, it was an analog synthesizer built to work with microcomputers using the S-100 bus standard. Synthesized voices typically sounded male until 1990, when Ann Syrdal, at AT&T Bell Laboratories, created a female voice. Ray Kurzweil predicted in 2005 that as the cost-performance ratio caused speech synthesizers to become cheaper and more accessible, more people would benefit from the use of text-to-speech programs. === Artificial intelligence === In September 2016, DeepMind released WaveNet, which demonstrated that deep learning models are capable of modeling raw waveforms and generating speech from acoustic features like spectrograms or mel-spectrograms, starting the field of deep learning speech synthesis. Although WaveNet was initially considered to be computationally expensive and slow to be used in consumer products at the time, a year after its
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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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Digital on-screen graphic

A digital on-screen graphic, digitally originated graphic (DOG, bug, network bug, on-screen bug or screenbug) is a watermark-like station logo that most television broadcasters overlay over a portion of the screen area of their programs to identify the channel. They are thus a form of permanent visual station identification, increasing brand recognition and asserting ownership of the video signal. The graphic identifies the source of programming, even if it has been time-shifted or recorded. Many of these technologies allow viewers to skip or omit traditional between-programming station identification; thus the use of a DOG enables the station or network to enforce brand identification even when standard commercials are skipped. DOG watermarking helps to reduce off-the-air copyright infringement—for example, the distribution of a current series' episodes on DVD: the watermarked content is easily differentiated from "official" DVD releases, and can help identify not only the station from which the broadcast was captured, but usually the actual date of the broadcast as well. Graphics may be used to identify if the correct subscription is being used for a type of venue. For example, showing Sky Sports within a pub in the United Kingdom requires a more expensive subscription; a channel authorized under this subscription adds a pint glass graphic to the bottom of the screen for inspectors to see. The graphic changes at certain times, making it harder to counterfeit. On the other hand, watermarks pollute the picture, distract viewers' attention and may cover an important piece of information presented in the television program. Extremely bright watermarks may cause screen burn-in or image persistence on some types of television sets such as the now mostly discontinued and rarely used plasma and CRT displays, and currently commonly used OLED and LCD displays. Usage of visually perceptible embedded watermarks requires the program author to have a separate clean copy for archival purposes, but this practice was not common decades ago when watermarking became popular among broadcasters. Watermarks present an issue when archival videos are used for a documentary that strives to create a coherent story. In some cases, watermarks are blurred or digitally removed if possible to clean up the picture. In the absence of visually perceptible watermarks, content control can be ensured with visually imperceptible digital watermarks. In some cases, the graphic also shows the name of the current program. Some television networks may place additional logos or text alongside their DOG to advertise significant upcoming programs. For example, broadcasters of the Olympic Games (most notably United States broadcaster NBC) often add the Olympic rings to their DOG for a period of time leading up to and during the Games. == Usage == == Connections with sponsor tags == Another graphic on television usually connected with sports (particularly in North America, though not in Europe) is the sponsor tag. It shows the logos of certain sponsors, accompanied by some background relevant to the game, the network logo, announcement and music of some kind. == Usage in ham radio and television == In most countries, the ham station is required to periodically identify their amateur-television transmission. Such stations frequently overlay their callsign on the signal instead of placing a card in the background. Most hams use homebuilt devices or old consumer character generators to generate such identifications rather than using graphical superimposes of high cost to do so. Only rarely one can see real graphics, as the callsign is usually written in the "OSD font". == Live DOGs by hobbyists == One of the easiest and most sought-after devices used to generate DOGs by hobbyists is the 1980s vintage Sony XV-T500 video superimposer. This device can luma-key a signal, capture a still frame into memory and then overlay the keyed graphic in one of eight colors onto any CVBS signal. Another method commonly used by hobbyists and even low-budgeted television stations was Amiga computers with genlock interfaces.
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Fuzzy logic

Fuzzy logic is a form of many-valued logic in which the truth value of variables may be any real number between 0 and 1. It is employed to handle the concept of partial truth, where the truth value may range between completely true and completely false. By contrast, in Boolean logic, the truth values of variables may only be the integer values 0 or 1. The term fuzzy logic was introduced with the 1965 proposal of fuzzy set theory by mathematician Lotfi Zadeh. Basic fuzzy logic had, however, been studied since the 1920s, as infinite-valued logic—notably by Łukasiewicz and Tarski. The works of Zadeh and Joseph Goguen in the 1960s and 1970s went further by considering issues such as linguistic variables and lattices. Fuzzy logic is based on the observation that people make decisions based on imprecise and non-numerical information. Fuzzy models or fuzzy sets are mathematical means of representing vagueness and imprecise information (hence the term fuzzy). These models have the capability of recognising, representing, manipulating, interpreting, and using data and information that are vague and lack certainty. Fuzzy logic has been applied to many fields, from control theory to artificial intelligence. == Overview == Classical logic only permits conclusions that are either true or false. However, there are also propositions with variable answers, which one might find when asking a group of people to identify a color. In such instances, the truth appears as the result of reasoning from inexact or partial knowledge in which the sampled answers are mapped on a spectrum. Both degrees of truth and probabilities range between 0 and 1 and hence may seem identical at first, but fuzzy logic uses degrees of truth as a mathematical model of vagueness, while probability is a mathematical model of ignorance. === Applying truth values === A basic application might characterize various sub-ranges of a continuous variable. For instance, a temperature measurement for anti-lock brakes might have several separate membership functions defining particular temperature ranges needed to control the brakes properly. Each function maps the same temperature value to a truth value in the 0 to 1 range. These truth values can then be used to determine how the brakes should be controlled. Fuzzy set theory provides a means for representing uncertainty. === Linguistic variables === In fuzzy logic applications, non-numeric values are often used to facilitate the expression of rules and facts. A linguistic variable such as age may accept values such as young and its antonym old. Because natural languages do not always contain enough value terms to express a fuzzy value scale, it is common practice to modify linguistic values with adjectives or adverbs. For example, we can use the hedges rather and somewhat to construct the additional values rather old or somewhat young. == Fuzzy systems == === Mamdani === The most well-known system is the Mamdani rule-based one. It uses the following rules: Fuzzify all input values into fuzzy membership functions. Execute all applicable rules in the rulebase to compute the fuzzy output functions. De-fuzzify the fuzzy output functions to get "crisp" output values. ==== Fuzzification ==== Fuzzification is the process of assigning the numerical input of a system to fuzzy sets with some degree of membership. This degree of membership may be anywhere within the interval [0,1]. If it is 0 then the value does not belong to the given fuzzy set, and if it is 1 then the value completely belongs within the fuzzy set. Any value between 0 and 1 represents the degree of uncertainty that the value belongs in the set. These fuzzy sets are typically described by words, and so by assigning the system input to fuzzy sets, we can reason with it in a linguistically natural manner. For example, in the image below, the meanings of the expressions cold, warm, and hot are represented by functions mapping a temperature scale. A point on that scale has three "truth values"—one for each of the three functions. The vertical line in the image represents a particular temperature that the three arrows (truth values) gauge. Since the red arrow points to zero, this temperature may be interpreted as "not hot"; i.e. this temperature has zero membership in the fuzzy set "hot". The orange arrow (pointing at 0.2) may describe it as "slightly warm" and the blue arrow (pointing at 0.8) "fairly cold". Therefore, this temperature has 0.2 membership in the fuzzy set "warm" and 0.8 membership in the fuzzy set "cold". The degree of membership assigned for each fuzzy set is the result of fuzzification. Fuzzy sets are often defined as triangle or trapezoid-shaped curves, as each value will have a slope where the value is increasing, a peak where the value is equal to 1 (which can have a length of 0 or greater) and a slope where the value is decreasing. They can also be defined using a sigmoid function. One common case is the standard logistic function defined as S ( x ) = 1 1 + e − x {\displaystyle S(x)={\frac {1}{1+e^{-x}}}} which has the following symmetry property S ( x ) + S ( − x ) = 1. {\displaystyle S(x)+S(-x)=1.} From this it follows that ( S ( x ) + S ( − x ) ) ⋅ ( S ( y ) + S ( − y ) ) ⋅ ( S ( z ) + S ( − z ) ) = 1 {\displaystyle (S(x)+S(-x))\cdot (S(y)+S(-y))\cdot (S(z)+S(-z))=1} ==== Fuzzy logic operators ==== Fuzzy logic works with membership values in a way that mimics Boolean logic. To this end, replacements for basic operators ("gates") AND, OR, NOT must be available. There are several ways to accomplish this. A common replacement is called the Zadeh operators: For TRUE/1 and FALSE/0, the fuzzy expressions produce the same result as the Boolean expressions. There are also other operators, more linguistic in nature, called hedges that can be applied. These are generally adverbs such as very, or somewhat, which modify the meaning of a set using a mathematical formula. However, an arbitrary choice table does not always define a fuzzy logic function. In the paper (Zaitsev, et al), a criterion has been formulated to recognize whether a given choice table defines a fuzzy logic function and a simple algorithm of fuzzy logic function synthesis has been proposed based on introduced concepts of constituents of minimum and maximum. A fuzzy logic function represents a disjunction of constituents of minimum, where a constituent of minimum is a conjunction of variables of the current area greater than or equal to the function value in this area (to the right of the function value in the inequality, including the function value). Another set of AND/OR operators is based on multiplication, where Given any two of AND/OR/NOT, it is possible to derive the third. The generalization of AND is an instance of a t-norm. ==== IF-THEN rules ==== IF-THEN rules map input or computed truth values to desired output truth values. Example: Given a certain temperature, the fuzzy variable hot has a certain truth value, which is copied to the high variable. Should an output variable occur in several THEN parts, the values from the respective IF parts are combined using the OR operator. ==== Defuzzification ==== The goal is to get a continuous variable from fuzzy truth values. This would be easy if the output truth values were exactly those obtained from fuzzification of a given number. Since, however, all output truth values are computed independently, in most cases they do not represent such a set of numbers. One has then to decide for a number that matches best the "intention" encoded in the truth value. For example, for several truth values of fan_speed, an actual speed must be found that best fits the computed truth values of the variables 'slow', 'moderate' and so on. There is no single algorithm for this purpose. A common algorithm is For each truth value, cut the membership function at this value Combine the resulting curves using the OR operator Find the center-of-weight of the area under the curve The x position of this center is then the final output. === Takagi–Sugeno–Kang (TSK) === The Takagi–Sugeno or Takagi–Sugeno–Kang (TSK) system was introduced by Tomohiro Takagi and Michio Sugeno for fuzzy identification of systems and applications to modeling and control. Sugeno and Kang later developed methods for structure identification of such fuzzy models from input-output data. The TSK system is similar to Mamdani, but the defuzzification process is included in the execution of the fuzzy rules. These are also adapted, so that instead the consequent of the rule is represented through a polynomial function, usually constant in a zero-order model or linear in a first-order model. An example of a rule with a constant output would be: In this case, the output will be equal to the constant of the consequent (e.g. 2). In most scenarios we would have an entire rule base, with 2 or more rules. If this is the case, the output of the entire rule base will be the average of the consequent of each rule i (Y
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They're Made Out of Meat

"They're Made Out of Meat" is a short story by American writer Terry Bisson. It was originally published in OMNI. It consists entirely of dialogue between two characters. Bisson's website hosts a theatrical adaptation. A film adaptation won the Grand Prize at the Seattle Science Fiction Museum's 2006 film festival. The story was collected in the 1993 anthology Bears Discover Fire and Other Stories, and has circulated widely on the Internet, which Bisson found "flattering". It has been quoted in cognitive, cosmological, and philosophical scholarship. == Plot == The two characters are intelligent beings capable of traveling faster than light, on a mission to "contact, welcome and log in any and all sentient races or multibeings in this quadrant of the Universe." Bisson's stage directions represent them as "two lights moving like fireflies among the stars" on a projection screen. One of them tells the incredulous other about the recent discovery of carbon-based lifeforms "made up entirely of meat". After conversing briefly about it, they both deem such beings and communication with them too bizarre and agree to "erase the records and forget the whole thing", marking the Solar System "unoccupied". == Film adaptations == === They're Made out of Meat (2005) === In 2005, Stephen O'Regan wrote and directed a live film adaptation starring Tom Noonan and Ben Bailey. The film was made as a final project for the New York Film Academy. The main action takes place inside a diner full of teenagers in Staten Island, New York. The music for the film was scored by Bob Reynolds. === They're Made out of Meat (2010) === Jeff Frumess and Trevor Scott produced a version in 2010. They added the character of a homeless conspiracy theorist with an original score by musician Sam Belkin. The film was shot at Hartsdale station in Westchester County, New York. === Meat (2021) === Masha Maksimova developed a version in Cinemiracle format, a triple split-screen process, as a student project at the Berlin University of Applied Sciences in the communication design course. The dialogue is conducted by two telepathic humanoid aliens and the thoughts are visualised by found-footage collages.
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AI Action Summit 2025

The Artificial Intelligence (AI) Action Summit (French: Sommet pour l'action sur l'intelligence artificielle or Sommet pour l'action sur l'IA, SAIA) was held at the Grand Palais in Paris, France, from 10 to 11 February 2025. The summit was co-chaired by French President Emmanuel Macron and Indian Prime Minister Narendra Modi. The 2025 AI Action Summit followed the 2023 AI Safety Summit hosted at Bletchley Park in the UK, and the 2024 AI Seoul Summit in South Korea. This series of AI summits continued with the AI Impact Summit in Delhi, which was hosted by India in February 2026. Whereas the 2023 AI Safety Summit was attended by representatives from 29 governments and executives from only a handful of AI companies, over 1,000 participants from more than 100 countries attended the 2025 Paris AI Summit, representing government leaders, international organisations, the academic and research community, the private sector, and civil society. == Background == The First International AI Safety Report was published on 29 January 2025. Commissioned after the Bletchley Park AI Safety Summit, the report focused on the risks and threats posed by general-purpose AI, and was slated for discussion at the Paris summit as part of the "Trust in AI" pillar. Whereas the first summit was focused on the catastrophic risks of AI and their mitigation, the Paris meeting was recast as an "AI Action Summit" emphasising innovation, practical implementation, and potential economic opportunities of AI, while also exploring a broader range of risks including its environmental impact and disruptions to the labour market. In the weeks leading up to the Paris summit, government leaders had also started to rally around "national champions" in AI, partly in response to Chinese AI startup DeepSeek, which had released a new model rivalling OpenAI o1. On Sunday 9 February, French President Emmanuel Macron posted a compilation of AI-generated deepfake video clips of himself on Instagram to help publicise the start of the 2025 AI Action Summit the following day. While acknowledging the humour of the deepfakes, the real Macron states in the video that using artificial intelligence, "we can do some very big things: change healthcare, energy, life in our society". == Proceedings == === Day 1 === In her opening address, French special envoy Anne Bouverot discussed the environmental impact of AI, acknowledging the technology's "current trajectory is unsustainable". General secretary Christy Hoffman of the UNI Global Union said that "AI-driven productivity gains risk turning the technology into yet another engine of inequality, further straining our democracies". Chinese Vice Premier Zhang Guoqing made a speech expressing China's willingness "to work with other countries to promote development, safeguard security, and share achievements in the field of artificial intelligence". Google CEO Sundar Pichai said in his speech that while the rise of AI brings many risks, "The biggest risk is missing out". He discussed Google's long track record of AI research and said that the company is investing further into "deep research" agents that can autonomously search the Internet and compile a full analysis for users. A new coalition, the Robust Open Online Safety Tools (ROOST) initiative, debuted at the summit. Supported by Google, Discord, OpenAI, and Roblox, and incubated at the Institute of Global Politics at Columbia University, the organisation is developing free, open-source tools to detect and report child sexual abuse material (CSAM). In his speech closing the first day, President Emmanuel Macron emphasized that France has the capability to deliver the power required by AI companies, thanks to its production of nuclear energy. While declaring that Europe was "back in the race" for AI, Macron said that the region was "too slow" for investors, and called on the EU to "simplify regulation" and "resynchronize with the rest of the world". === Day 2 === On 11 February 2025, the French government announced its $400 million endowment of Current AI, a new foundation to support the creation of AI "public goods" including high-quality datasets and open-source tools and infrastructure. Launched by President Macron, Current AI is backed by nine governments – Finland, France, Germany, Chile, India, Kenya, Morocco, Nigeria, Slovenia, and Switzerland – plus various philanthropic organisations such as the Omidyar Group and the McGovern Foundation, and private companies such as Google and Salesforce. Another initiative launched at the summit was the Coalition for Sustainable AI. Led by France, the UN Environment Programme (UNEP), and the International Telecommunication Union (ITU), the coalition has the support of 11 countries, five international organisations, and 37 tech companies including EDF, IBM, Nvidia, and SAP. The Summit of Heads of State and Government took place with a plenary session in the Grand Palais. Prime Minister Narendra Modi of India stressed the need to "democratise technology" and "[ensure] access to all, especially in the Global South". Vice President JD Vance of the United States used his speech to warn against "excessive regulation of the AI" which "could kill a transformative sector just as it's taking off". Vance also warned other leaders against cooperating with "authoritarian regimes" on AI, a comment widely interpreted as a reference to China. == Investments == At the summit, the European Union made several announcements related to planned investments supporting AI development. President Ursula von der Leyen of the European Commission launched InvestAI, a €200 billion initiative, including €20 billion to build four AI gigafactories to train highly complex, very large models. In addition, a coalition of more than 60 European companies launched the EU AI Champions Initiative. Led by venture capital firm General Catalyst, the coalition plans to invest €150 billion in AI-related businesses and infrastructure in Europe over five years. President Emmanuel Macron announced that private investors had pledged to invest nearly €110 billion in the AI sector in France. Financing of between €30 and €50 billion is expected from the United Arab Emirates to build a very large data centre campus, with another €20 billion from the Canadian investment firm Brookfield Corporation. French startup Mistral AI and Helsing, a German-British company, announced their partnership in developing vision-language-action models helping soldiers use AI on the battlefield. == Reactions == The Financial Times editorial board noted that the Paris summit "highlighted a shift in the dynamics towards geopolitical competition", which it characterised as "a new AI arms race" between the US and China, with Europe "trying to carve out its role". Fortune.com AI editor Jeremy Kahn described the 2025 Paris Summit as an "AI festival, complete with glitzy corporate side events and even a late night dance party", contrasting it with the "decidedly sober" mood of the inaugural AI Safety Summit at Bletchley Park. Many experts of the AI Safety Community expressed disappointment that the Paris Summit did not do enough to address AI risks, with Anthropic CEO Dario Amodei calling it a "missed opportunity". Others voicing similar concerns included David Leslie of the Alan Turing Institute and Max Tegmark of the Future of Life Institute. Reporting from Paris, technology columnist Kevin Roose of The New York Times wrote, "The biggest surprise of the Paris summit, for me, has been that policymakers can't seem to grasp how soon powerful AI systems could arrive, or how disruptive they could be." == Statement on inclusive and sustainable AI == At the summit, 58 countries, including France, China, and India, signed a joint declaration, the Statement on Inclusive and Sustainable Artificial Intelligence for People and the Planet. The statement outlines general principles such as accessibility and overcoming the digital divide; developing AI that is open, transparent, ethical, safe, and trustworthy; avoiding market concentration of AI development to encourage innovation; positive outcomes for labour markets; making AI sustainable; and promoting international cooperation and governance. The US and UK refused to sign the declaration on inclusive and sustainable AI. The UK government said in a brief statement that the international agreement did not go far enough in defining global governance of AI and addressing concerns about its impact on national security. === Signatories === The list of signatory countries to the statement for inclusive and sustainable AI in alphabetical order: Additional signatories included the following international bodies and research institutes: ALAI (Latin American Association on Internet) African Union (AU) Commission BEUC The European Consumer Organisation Center for Democracy and Technology Council of Europe European Commission (and the 27 member states) Hugging Face INRIA Institute of Advanced Study OEC
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Hierarchical Risk Parity

Hierarchical Risk Parity (HRP) is an advanced investment portfolio optimization framework developed in 2016 by Marcos López de Prado at Guggenheim Partners and Cornell University. HRP is a probabilistic graph-based alternative to the prevailing mean-variance optimization (MVO) framework developed by Harry Markowitz in 1952, and for which he received the Nobel Prize in economic sciences. HRP algorithms apply discrete mathematics and machine learning techniques to create diversified and robust investment portfolios that outperform MVO methods out-of-sample. HRP aims to address the limitations of traditional portfolio construction methods, particularly when dealing with highly correlated assets. Following its publication, HRP has been implemented in numerous open-source libraries, and received multiple extensions. == Key features == HRP portfolios have been proposed as a robust alternative to traditional quadratic optimization methods, including the Critical Line Algorithm (CLA) of Markowitz. HRP addresses three central issues commonly associated with quadratic optimizers: numerical instability, excessive concentration in a small number of assets, and poor out-of-sample performance. HRP leverages techniques from graph theory and machine learning to construct diversified portfolios using only the information embedded in the covariance matrix. Unlike quadratic programming methods, HRP does not require the covariance matrix to be invertible. Consequently, HRP remains applicable even in cases where the covariance matrix is ill-conditioned or singular—conditions under which standard optimizers fail. Monte Carlo simulations indicate that HRP achieves lower out-of-sample variance than CLA, despite the fact that minimizing variance is the explicit optimization objective of CLA. Furthermore, HRP portfolios exhibit lower realized risk compared to those generated by traditional risk parity methodologies. Empirical backtests have demonstrated that HRP would have historically outperformed conventional portfolio construction techniques. Algorithms within the HRP framework are characterized by the following features: Machine Learning Approach: HRP employs hierarchical clustering, a machine learning technique, to group similar assets based on their correlations. This allows the algorithm to identify the underlying hierarchical structure of the portfolio, and avoid that errors spread through the entire network. Risk-Based Allocation: The algorithm allocates capital based on risk, ensuring that assets only compete with similar assets for representation in the portfolio. This approach leads to better diversification across different risk sources, while avoiding the instability associated with noisy returns estimates. Covariance Matrix Handling: Unlike traditional methods like Mean-Variance Optimization, HRP does not require inverting the covariance matrix. This makes it more stable and applicable to portfolios with a large number of assets, particularly when the covariance matrix's condition number is high. == The problem: Markowitz's Curse == Portfolio construction is perhaps the most recurrent financial problem. On a daily basis, investment managers must build portfolios that incorporate their views and forecasts on risks and returns. Despite the theoretical elegance of Markowitz's mean-variance framework, its practical implementation is hindered by several limitations that undermine the reliability of solutions derived from the Critical Line Algorithm (CLA). A principal concern is the high sensitivity of optimal portfolios to small perturbations in expected returns: even minor forecasting errors can result in significantly different allocations (Michaud, 1998). Given the inherent difficulty of producing accurate return forecasts, numerous researchers have advocated for approaches that forgo expected returns entirely and instead rely solely on the covariance structure of asset returns. This has given rise to risk-based allocation methods, among which risk parity is a widely cited example (Jurczenko, 2015). While eliminating return forecasts mitigates some instability, it does not eliminate it. Quadratic programming techniques employed in portfolio optimization require the inversion of a positive-definite covariance matrix, meaning all eigenvalues must be strictly positive. When the matrix is numerically ill-conditioned—that is, when the ratio of its largest to smallest eigenvalue (its condition number) is large—matrix inversion becomes unreliable and prone to significant numerical errors (Bailey and López de Prado, 2012). The condition number of a covariance, correlation, or any symmetric (and thus diagonalizable) matrix is defined as the absolute value of the ratio between its largest and smallest eigenvalues in modulus. The figure on the right presents the sorted eigenvalues of several correlation matrices; the condition number is represented by the ratio of the first to last eigenvalues in each sequence. A diagonal correlation matrix, which is equal to its own inverse, exhibits the minimum possible condition number. As the number of correlated (or multicollinear) assets in a portfolio increases, the condition number rises. At high levels, this leads to severe numerical instability, whereby slight modifications in any matrix entry may result in drastically different inverses. This phenomenon, often referred to as Markowitz’s curse, encapsulates the paradox wherein increased correlation among assets heightens the theoretical need for diversification, yet simultaneously increases the likelihood of unstable optimization outcomes. Consequently, the potential benefits of diversification are frequently overshadowed by estimation errors. These problems are exacerbated as the dimensionality of the covariance matrix increases. The estimation of each covariance term consumes degrees of freedom, and in general, a minimum of 1 2 N ( N + 1 ) {\displaystyle {\frac {1}{2}}N(N+1)} independent and identically distributed (IID) observations is required to estimate a non-singular covariance matrix of dimension N {\displaystyle N} . For example, constructing an invertible covariance matrix of dimension 50 necessitates at least five years of daily IID observations. However, empirical evidence suggests that the correlation structure of financial assets is highly unstable over such extended periods. These difficulties are highlighted by the observation that even naïve allocation strategies—such as equally weighted portfolios—have frequently outperformed both mean-variance and risk-based optimizations in out-of-sample tests (De Miguel et al., 2009). == The solution: Hierarchical Risk Parity == The HRP algorithm addresses Markowitz's curse in three steps: Hierarchical Clustering: Assets are grouped into clusters based on their correlations, forming a hierarchical tree structure. Quasi-Diagonalization: The correlation matrix is reordered based on the clustering results, revealing a block diagonal structure. Recursive Bisection: Weights are assigned to assets through a top-down approach, splitting the portfolio into smaller sub-portfolios and allocating capital based on inverse variance. === Step 1: Hierarchical clustering === Given a T × N {\displaystyle T\times N} matrix of asset returns X {\displaystyle X} , where each column represents a time series of returns for one of N {\displaystyle N} assets over T {\displaystyle T} time periods, a hierarchical clustering process can be used to construct a tree-based representation of asset relationships. First, we compute the N × N {\displaystyle N\times N} correlation matrix ρ = ρ i , j i , j = 1 . . . N {\displaystyle \rho ={\rho _{i,j}}\;{i,j=1\;...\;N}} , where ρ i , j = c o r r ( X i , X j ) {\displaystyle \rho _{i,j}=\mathrm {corr} (X_{i},X_{j})} . From this, a pairwise distance matrix D = d i , j {\displaystyle D={d_{i,j}}} is defined using the transformation: d i , j = 1 2 ( 1 − ρ i , j ) {\displaystyle d_{i,j}={\sqrt {{\frac {1}{2}}(1-\rho _{i,j})}}} This distance function defines a proper metric space, satisfying non-negativity, identity of indiscernibles, symmetry, and the triangle inequality. Next, a secondary distance matrix D ~ = d ~ i , j {\displaystyle {\tilde {D}}={{\tilde {d}}_{i,j}}} is computed, where each entry measures the Euclidean distance between the distance profiles of two assets: d ~ i , j = ∑ n = 1 N ( d n , i − d n , j ) 2 {\displaystyle {\tilde {d}}_{i,j}={\sqrt {\sum _{n=1}^{N}(d_{n,i}-d_{n,j})^{2}}}} While d i , j {\displaystyle d_{i,j}} reflects correlation-based proximity between two assets, d ~ i , j {\displaystyle {\tilde {d}}_{i,j}} quantifies dissimilarity across the entire system, as it depends on all pairwise distances. Hierarchical clustering proceeds by identifying the pair ( i , j ) {\displaystyle (i,j)} with the smallest value of d ~ i , j {\displaystyle {\tilde {d}}_{i,j}} (for i ≠ j {\displaystyle i\neq j} ), and forming a new cluster u [ 1 ] = ( i , j ) {\displaystyle u[1]=(i,j)} .
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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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SciGraph

SciGraph was a search engine tool developed by Springer Nature, the former URL was https://scigraph.springernature.com/explorer. The technology, which was considered a Linked Open Data (LOD) platform, collects information that covers the research landscape, which includes research projects, publications, conferences, funding agencies, and others. Key features of the platform include the detailed semantic description of the relationship of information and the visualization of the scholarly domain. It was launched in 2017 and retired in 2023. == Development == The development of SciGraph began with an initiative to create a platform that will host Springer Nature's entire publication archive, which cover texts published as early as 1815. The number of these resources is reported to be about 13 million. The technology behind the platform was built on earlier Springer Nature projects developed for the purpose of collecting information on the research landscape. The first SciGraph data set was published in February 2017. The platform was launched in March 2017 and significantly expanded with the addition of publications of key partners. The datasets span a broad range of topics, which include computer science, medicine, life sciences, chemistry, engineering, and astronomy, among others. The developers also plan to include citations, patents, and clinical trials in the future. == Technology == SciGraph constitutes 1.5 to 2 billion triples where a triple is formatted as "subject-predicate-object" and could link any subject or concept through a predicate (verb) to another object, demonstrating the type of relationship that exists between them. Its graph structure is used by other academic search engines such as Semantic Scholar. SciGraph collects data from Springer Nature and its partners from the scholarly domain as well as funders, research projects, conferences, affiliations, and publications. The collected information serves as rich semantic description of how information is related and it also provides a visualization of the scholarly domain. The platform has been considered the only large-scale dataset that reconciles authors' affiliations through the disambiguation and linking with external authoritative datasets according to institutions.
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Nature Manifesto

Nature Manifesto is an Immersive sound piece and multimedia installation by Icelandic artist Björk and artist and curator Aleph Molinari, created in collaboration with the French Institute for Research and Coordination in Acoustics/Music (IRCAM). The installation was showcased at the Centre Pompidou in Paris, France from November 20, 2024 to December 9, 2024, as part of the museum's "Biodiversity: Which Culture for Which Future?" forum. It combines natural soundscapes, calls of extinct animals reconstructed through artificial intelligence, and Björk's narration to address damages to biodiversity and the collapse of ecosystems. == Background == Björk's work intricately weaves themes of nature and technology, reflecting her deep engagement with both realms. In 2008, she co-founded the Náttúra campaign to protest the construction of foreign-backed aluminum factories in Iceland, aiming to protect the country's natural landscapes. She released the single "Náttúra" featuring Thom Yorke, with all proceeds supporting this environmental initiative. Her 2011 album Biophilia further exemplifies this synthesis, exploring the relationships between music, nature, and technology through a multimedia project that included interactive apps, custom-made instruments, and educational workshops. Björk's Cornucopia tour (2019-2023) seamlessly integrates themes of nature preservation and environmental activism, and featured a recorded message by Swedish climate activist Greta Thunberg. The tour's fusion of music, technology, and natural imagery reflects Björk's vision of a harmonious coexistence between humanity and nature, advocating for sustainable futures. Björk has previously used artificial intelligence in her works. In 2020, she collaborated with Microsoft to create Kórsafn, a sound installation for the Sister City Hotel lobby in New York City which used an AI-powered model that elaborated choral recordings from her discography through a sensor on the rooftop of the building that would generate music according to data like the weather and the seasons. For her charity single "Oral", featuring Spanish singer Rosalía, she released a music video directed by photographer and visual artist Carlota Guerrero, who used AI-generated deepfake versions of the artists. == Concept == Nature Manifesto is a three-minute and forty-second immersive sound piece. The composition merges Björk's voice, as she articulates a manifesto on biodiversity and the climate crisis, with cries of extinct and endangered animals, harmonizing them with natural soundscapes. The installation was curated by Chloé Siganos and Aleph Molinari, with associate curator Delphine Le Gatt. The primary goal of Nature Manifesto is to foster a deeper understanding of humanity's impact on the natural world. Conceived as a "post-optimistic" manifesto, Aleph Molinari stated that the project's purpose was to "offer a voice to nature". He stated that "the modern concept of nature itself is problematic [...] because it’s a concept born in the Romantic period and, with the rise of the industrial era, became an antithesis to human civilisation and everything urban. Nature came to define what was outside, the savage Other... But nature is everything that we’re part of." The soundscape features recreated calls of extinct and endangered species, developed in collaboration with the French sound research institute IRCAM. Artificial intelligence was employed to simulate the vocalizations of animals that no longer exist in the wild. To save energy and lessen the ecological impact of the use of AI, the research institute developed a "frugal AI" model capable of generating audio in real-time on local servers without a graphics processing unit. The sounds were then produced and edited by Björk in collaboration with Robin Meier Wiratunga and Bergur Þórisson. The installation was located within the Centre Pompidou's escalator, known as the "caterpillar". The installation was further supported by videos created by visual artist Sam Balfus (also known as Balfua) by using artificial intelligence, and edited by Santiago Molinari. == Activism == To sustain and broaden the themes presented in Nature Manifesto, Björk publicly urged French President Emmanuel Macron to prohibit bottom trawling within France's marine protected areas (MPA). She criticized the French government's claim of protecting 30% of its marine territories, highlighting that over 90% of these MPAs exist only on paper, allowing destructive practices like bottom trawling to continue unchecked. She collaborated with non-governmental organizations Sustainable Ocean Alliance, Ungir umhverfissinnar and Bloom, to advocate for genuine ocean conservation. Björk promoted the cause through her social media profiles by sharing petitions. In November 2024, Björk lent her Instagram account to French environmental activists to directly address Macron. The activists used the platform to call for stronger protection of the ocean, urging Macron to impose stricter restrictions on harmful fishing practices, particularly bottom trawling. == Reception == Nature Manifesto received mixed to positive reviews from critics. Some critiques focused on the installation's setting, suggesting that the movement inherent to the escalator space diminished the immersive potential of the soundscape. The choice of using artificial intelligence was also questioned. Björk and Molinari defended this, as both see AI as a tool that can be used creatively and sustainably, with Björk focusing on the importance of human input to give AI a "soul", and Molinari stressing the need for sustainable technological practices in the broader context of digital life. After the exhibition ended, Björk further opinionated: "this is how we will work in the future. [...] if there is no soul in tomorrow's music made by AI it is because [no one] put it there and we have to speak out and guard this as listeners", further stating that there is already "soulless muzak" [sic] on Spotify, "mass manufactured without the attention of creativity".
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GeneXus

GeneXus is a low code, cross-platform, knowledge representation-based development tool, mainly oriented towards enterprise-class applications for web applications, smart devices, and the Microsoft Windows platform. GeneXus uses mostly declarative language to generate native code for multiple environments. It includes a normalization module, which creates and maintains an optimal database structure based on user views. The languages for which code can be generated include COBOL, Java, Objective-C, RPG, Ruby, Visual Basic, and Visual FoxPro. Some of the DBMSs supported are Microsoft SQL Server, Oracle, IBM Db2, Informix, PostgreSQL, and MySQL. GeneXus was developed by Uruguayan company ARTech Consultores SRL which later renamed to Genexus SA. The latest version is GeneXus 18, which was released on November 10, 2022.
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A Very Fatal Murder

A Very Fatal Murder is a podcast produced by the satirical publication The Onion. A parody of true crime podcasts, A Very Fatal Murder is hosted by fictional New York City reporter David Pascall, who travels to the small town Bluff Springs, Nebraska to investigate the murder of prom queen Hayley Price. Pascall is voiced by David Sidorov, who also wrote for the podcast. The podcast premiered on January 23, 2018, and consists of 7 episodes. Season 2 was released in its entirety on May 11, 2019. == Production == A Very Fatal Murder satirizes popular true crime podcasts such as Serial, S-Town, and My Favorite Murder. According to head writer Katy Yeiser, the podcast is not meant as a take down of any particular podcast, but rather an ode to the genre. == Synopsis == The podcast follows fictional investigative reporter David Pascall (voiced by David Sidorov) who is searching for the perfect murder to create an award-winning podcast about. He is assisted by ETHL (the Extremely Timely Homicide Locator), an MIT-created computer programmed to find "the most interesting, violent, culturally relevant murder cases in America". == Episodes == === Season 1 === === Season 2 === == Reception == The podcast received mostly positive reviews, and was largely praised for attacking true-crime tropes such as the "hot dead girl" and the romanticization of small-town America. === Awards ===
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2024 Bilderberg Conference

The 2024 Bilderberg Conference was held between May 30–June 2, 2024 in Madrid, Spain at the Eurostars Suites Mirasierra hotel. The 2024 meeting was the 70th edition of the event. A Bilderberg Group press release stated that there were 131 participants from around 25 countries. Established in 1954 by Prince Bernhard of the Netherlands, Bilderberg conferences (or meetings) are an annual private gathering of the European and North American political and business elite. Events are attended by between 120 and 150 people each year invited by the Bilderberg Group's steering committee; including prominent politicians, CEOs, national security experts, academics and journalists. Several US presidents have attended the meetings before winning a presidential election. These politicians include Bill Clinton and Barack Obama. Bilderberg conferences operate under the Chatham House Rule, meaning that participants are sworn to secrecy and cannot disclose the identity or affiliation of any particular speaker. == Agenda == The key topics for discussion were announced on the Bilderberg website shortly before the meeting. These topics included: == Participants == A list of 131 participants was published on the Bilderberg website. This list may not be complete, as a source connected to the Bilderberg group told The Daily Telegraph in 2013 that some attendees do not have their names publicized. King Felipe VI of Spain was reported to have attended the meeting despite his name not being on the list.
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