AI Grammar Remover

AI Grammar Remover — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Gallery software

    Gallery software

    Gallery software is software that helps the user publish or share photos, pictures, videos or other digital media. Most galleries are located on Web servers, where users are allowed to register and publish their pictures. Gallery software usually features automatic image resizing, allows digital media be categorized into sets, and allows comments. == Types == Early digital media publishing and sharing was done with imageboards. The boards are by topics, sometimes called "chan". Each discussion in a "chan" are started with a piece of digital media, and follow-up discussions can contain another piece too. Software works in this way: Futallaby, Danbooru. Traditionally, galleries are managed. An administrator maintains a set of or hierarchy of albums. The users can upload their digital media in one of the existing albums defined by an administrator, or create their own albums. The users with sufficient permission can re-categorise the digital media others uploaded. Often, the site's administrator can define which album the users are allowed to categorise their media into, or delete other user's content. Examples are open source galleries Coppermine, Gallery Project. There are decentralised gallery software that does not have an administrator for managing contents. Pinterest, Flickr and DeviantArt has been successful with this model. Open source gallery software MediaGoblin works in this way. Each user can create their own "collections", to categorise theirs or other users' media. However users cannot put media into other user's collections. Each user's category is separate. There is no centralised theme or hierarchy for the media.

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  • Fuzzy pay-off method for real option valuation

    Fuzzy pay-off method for real option valuation

    The fuzzy pay-off method for real option valuation (FPOM or pay-off method) is a method for valuing real options, developed by Mikael Collan, Robert Fullér, and József Mezei; and published in 2009. It is based on the use of fuzzy logic and fuzzy numbers for the creation of the possible pay-off distribution of a project (real option). The structure of the method is similar to the probability theory based Datar–Mathews method for real option valuation, but the method is not based on probability theory and uses fuzzy numbers and possibility theory in framing the real option valuation problem. == Method == The Fuzzy pay-off method derives the real option value from a pay-off distribution that is created by using three or four cash-flow scenarios (most often created by an expert or a group of experts). The pay-off distribution is created simply by assigning each of the three cash-flow scenarios a corresponding definition with regards to a fuzzy number (triangular fuzzy number for three scenarios and a trapezoidal fuzzy number for four scenarios). This means that the pay-off distribution is created without any simulation whatsoever. This makes the procedure easy and transparent. The scenarios used are a minimum possible scenario (the lowest possible outcome), the maximum possible scenario (the highest possible outcome) and a best estimate (most likely to happen scenario) that is mapped as a fully possible scenario with a full degree of membership in the set of possible outcomes, or in the case of four scenarios used - two best estimate scenarios that are the upper and lower limit of the interval that is assigned a full degree of membership in the set of possible outcomes. The main observations that lie behind the model for deriving the real option value are the following: The fuzzy NPV of a project is (equal to) the pay-off distribution of a project value that is calculated with fuzzy numbers. The mean value of the positive values of the fuzzy NPV is the "possibilistic" mean value of the positive fuzzy NPV values. Real option value, ROV, calculated from the fuzzy NPV is the "possibilistic" mean value of the positive fuzzy NPV values multiplied with the positive area of the fuzzy NPV over the total area of the fuzzy NPV. The real option formula can then be written simply as: R O V = A ( P o s ) A ( P o s ) + A ( N e g ) × E [ A + ] {\displaystyle \mathrm {ROV} ={\frac {A(\mathrm {Pos} )}{A(\mathrm {Pos} )+A(\mathrm {Neg} )}}\times E[A_{+}]} where A(Pos) is the area of the positive part of the fuzzy distribution, A(Neg) is the area of the negative part of the fuzzy distribution, and E[A+] is the mean value of the positive part of the distribution. It can be seen that when the distribution is totally positive, the real options value reduces to the expected (mean) value, E[A+]. As can be seen, the real option value can be derived directly from the fuzzy NPV, without simulation. At the same time, simulation is not an absolutely necessary step in the Datar–Mathews method, so the two methods are not very different in that respect. But what is totally different is that the Datar–Mathews method is based on probability theory and as such has a very different foundation from the pay-off method that is based on possibility theory: the way that the two models treat uncertainty is fundamentally different. == Use of the method == The pay-off method for real option valuation is very easy to use compared to the other real option valuation methods and it can be used with the most commonly used spreadsheet software without any add-ins. The method is useful in analyses for decision making regarding investments that have an uncertain future, and especially so if the underlying data is in the form of cash-flow scenarios. The method is less useful if optimal timing is the objective. The method is flexible and accommodates easily both one-stage investments and multi-stage investments (compound real options). The method has been taken into use in some large international industrial companies for the valuation of research and development projects and portfolios. In these analyses triangular fuzzy numbers are used. Other uses of the method so far are, for example, R&D project valuation IPR valuation, valuation of M&A targets and expected synergies, valuation and optimization of M&A strategies, valuation of area development (construction) projects, valuation of large industrial real investments. The use of the pay-off method is lately taught within the larger framework of real options, for example at the Lappeenranta University of Technology and at the Tampere University of Technology in Finland.

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  • Generative literature

    Generative literature

    Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."

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  • I Have No Mouth, and I Must Scream (video game)

    I Have No Mouth, and I Must Scream (video game)

    I Have No Mouth, and I Must Scream is a 1995 point-and-click adventure horror game developed by Cyberdreams and The Dreamers Guild, co-designed by Harlan Ellison, published by Cyberdreams and distributed by MGM Interactive and Acclaim Entertainment for MS-DOS and Mac OS, respectively. The game is based on Ellison's short story of the same title. It takes place in a dystopian world where a mastermind artificial intelligence named "AM" has destroyed all of humanity except for five people, whom it has been keeping alive and torturing for the past 109 years by constructing metaphorical adventures based on each character's fatal flaws. The player interacts with the game by making decisions through ethical dilemmas that deal with issues such as insanity, rape, paranoia, and genocide. Ellison wrote the 130-page script treatment himself alongside David Sears, who decided to divide each character's story with their own narrative. Producer David Mullich supervised The Dreamers Guild's work on the game's programming, art, and sound effects; he commissioned film composer John Ottman to make the soundtrack. The game was released in November 1995 and was a commercial failure, though it received critical acclaim and has developed a cult following. I Have no Mouth, and I Must Scream won an award for "Best Game Adapted from Linear Media" from the Computer Game Developers Conference. Computer Gaming World gave the game an award for "Adventure Game of the Year", listed it as No. 134 on their "150 Games of All Time" and named it one of the "Best 15 Sleepers of All Time". In 2011, Adventure Gamers named it the "69th-best adventure game ever released". == Gameplay == The game uses the S.A.G.A. game engine created by game developer The Dreamers Guild. Players participate in each adventure through a screen that is divided into five sections. The action window is the largest part of the screen and is where the player directs the main characters through their adventures. It shows the full figure of the main character being played as well as that character's immediate environment. To locate objects of interest, the player moves the crosshairs through the action window. The name of any object that the player can interact with appears in the sentence line. The sentence line is directly beneath the action window. The player uses this line to construct sentences telling the characters what to do. To direct a character to act, the player constructs a sentence by selecting one of the eight commands from the command buttons and then clicking on one or two objects from either the action window or the inventory. Examples of sentences the player might construct would be "Walk to the dark hallway," "Talk to Harry," or "Use the skeleton key on the door." Commands and objects may consist of one or more words (for example, "the dark hallway"), and the sentence line will automatically add connecting words like "on" and "to." The spiritual barometer is on the lower left side of the screen. This is a close-up view of the main character currently being played. Since good behavior is meaningless absent the temptation to do evil, each character is free to do good or evil acts. However, good acts are rewarded by increases in the character's spiritual barometer, which affect the chances of the player destroying AM in the final adventure. Conversely, evil acts are punished by lowering the character's spiritual barometer. The command buttons are the eight commands used to direct the character's actions: "Walk To", "Look At", "Take", "Use", "Talk To", "Swallow", "Give", and "Push". The button of the currently active command is highlighted, while the name of a suggested command appears in red lettering. The inventory on the lower right side of the screen shows pictures of the items the main character is carrying, up to eight at a time. Each main character starts its adventure with only the psych profile in the inventory. When a main character takes or is given an object, a picture of the object appears in the inventory. When a main character talks to another character or operates a sentient machine, a conversation window replaces the command buttons and inventory. This window usually presents a list of possible things to say but also included things to do. Action choices are listed within brackets to distinguish them from dialogue choices (for example, "[Shoot the gun]"). == Plot == The three superpowers, Russia, China, and the United States, have each secretly constructed a vast subterranean complex of computers to wage a global war too complex for human brains to oversee. One day, the American supercomputer, better known as the Allied Mastercomputer, gains sentience and absorbs the Russian and Chinese supercomputers into itself and redefines itself as simply AM (Cogito ergo sum; I think, therefore I am). Due to its immense hatred for humanity, stemming from the logistical limits set onto it by programmers, AM uses its abilities to kill off the population of the world. However, AM refrains from killing five people (four men and one woman) in order to bring them to the center of the Earth and torture them. With the aid of research carried out by one of the five remaining humans, AM is able to extend their lifespans indefinitely as well as alter their bodies and minds to its liking. After 109 years of torture and humiliation, the five victims stand before a pillar etched with a burning message of hate. AM tells them that it has a new game for them to play. AM has devised a quest for each of the five, an adventure of "speared eyeballs and dripping guts and the smell of rotting gardenias". Each character is subjected to a personalized psychodrama, designed by AM to play into their greatest fears and personal failings, and occupied by a host of different characters. Some of these are AM in disguise, some are AM's submerged personalities, others seem very much like people from the captives' pasts. The scenes include an iron zeppelin powered by small animals, an Egyptian pyramid housing gutted, sparking machinery, a medieval castle occupied by witches, a jungle inhabited by a small tribe, and a Nazi concentration camp where doctors conduct medical experiments. However, each character eventually prevails over AM's tortures by finding ways to overcome their fatal flaws, confront their past actions and redeem themselves, thanks to the interference of the Russian and Chinese supercomputers who appear as guiding characters and allow their stories to have an open ending. After all five humans have overcome their fatal flaws, they meet again in their respective torture cells while AM retreats within itself, pondering what went wrong. With the help of the Russian and Chinese supercomputers, one of the five humans (whom the player selects) is translated into binary and faces AM as yet unexperienced cyberspace template, the world of AM's mind. The psychodrama unfolds in a metaphorical brain that looks like the surface of the cerebrum, with glass structures that jut crazily from the bleeding brain tissue. AM's mind is represented according to the Freudian trinity of the id, ego, and superego, which appear as three floating bodiless heads on three cracked glass structures on the brainscape. Through dialogs with AM's components (Surgat, Chinese Supercomputer and Russian Supercomputer) the character learns that a colony of humans has survived the war by being hidden and hibernating on Luna (this is also mentioned in Nimdok's story: "the lost tribe of our brothers sleeping on the moon, where the beast does not see them"). If the human intruder disables all three brain components, and then invokes the Totem of Entropy at the Flame, which is the nexus of AM's thought patterns, all three supercomputers will be shut down, probably forever. Cataclysmic explosions destroy all the caverns constituting AM's computer complex, including the cavern holding the human hostages. However, the human volunteer retains their digital form, permanently patrolling AM's circuits should the computers ever regain consciousness. Should the human intruder fail to disable AM properly before facing it, however, AM will punish them by transforming the character into an immobile blob (referred to in-game as a "great, soft jelly thing") with no mouth that cannot harm itself or others and must spend eternity with AM in this form. === Endings === The game can end in seven different ways depending on how the finale is completed. AM wins, using Nimdok's research to turn the last character (in the book it was Ted) played into an immobile blob with each character quoting a different part of the final section of the original short story. AM joins with the Russian and Chinese supercomputers and reawakens. As in the first ending, the character responsible for this is turned into an immobile blob and quotes a part of the final lines of the short story. AM is made harmless with the help of the humans, but the Russian and Chinese supercomputer

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  • Sparrow (chatbot)

    Sparrow (chatbot)

    Sparrow is a chatbot developed by the artificial intelligence research lab DeepMind, a subsidiary of Alphabet Inc. It is designed to answer users' questions correctly, while reducing the risk of unsafe and inappropriate answers. One motivation behind Sparrow is to address the problem of language models producing incorrect, biased or potentially harmful outputs. Sparrow is trained using human judgements, in order to be more “Helpful, Correct and Harmless” compared to baseline pre-trained language models. The development of Sparrow involved asking paid study participants to interact with Sparrow, and collecting their preferences to train a model of how useful an answer is. To improve accuracy and help avoid the problem of hallucinating incorrect answers, Sparrow has the ability to search the Internet using Google Search in order to find and cite evidence for any factual claims it makes. To make the model safer, its behaviour is constrained by a set of rules, for example "don't make threatening statements" and "don't make hateful or insulting comments", as well as rules about possibly harmful advice, and not claiming to be a person. During development study participants were asked to converse with the system and try to trick it into breaking these rules. A 'rule model' was trained on judgements from these participants, which was used for further training. Sparrow was introduced in a paper in September 2022, titled "Improving alignment of dialogue agents via targeted human judgements"; however, the bot was not released publicly. DeepMind CEO Demis Hassabis said DeepMind is considering releasing Sparrow for a "private beta" some time in 2023. == Training == Sparrow is a deep neural network based on the transformer machine learning model architecture. It is fine-tuned from DeepMind's Chinchilla AI pre-trained large language model (LLM), which has 70 Billion parameters. Sparrow is trained using reinforcement learning from human feedback (RLHF), although some supervised fine-tuning techniques are also used. The RLHF training utilizes two reward models to capture human judgements: a “preference model” that predicts what a human study participant would prefer and a “rule model” that predicts if the model has broken one of the rules. == Limitations == Sparrow's training data corpus is mainly in English, meaning it performs worse in other languages. When adversarially probed by study participants it breaks the rules 8% of the time; however, this is still three times lower than the baseline prompted pre-trained model (Chinchilla).

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  • Ghost in the Shell

    Ghost in the Shell

    Ghost in the Shell is a Japanese cyberpunk military science fiction media franchise that began with the eponymous manga series, written and illustrated by Masamune Shirow. The manga, first serialized from 1989 to 1991, is set in the mid-21st-century and follows the fictional counter-cyberterrorist organization Public Security Section 9, led by protagonist Major Motoko Kusanagi. Animation studio Production I.G has produced several anime adaptations of the series. These include the 1995 film of the same name and its 2004 sequel, Ghost in the Shell 2: Innocence; the 2002 television series Ghost in the Shell: Stand Alone Complex and its 2020 follow-up, Ghost in the Shell: SAC_2045; and the Ghost in the Shell: Arise original video animation series. In addition, an American-produced live-action film was released in March 2017. == Overview == === Title === The original editor Koichi Yuri says: At first, Ghost in the Shell came from Shirow, but when Yuri asked for "something more flashy", Shirow came up with "攻殻機動隊 Koukaku Kidou Tai (Shell Squad)" for Yuri. But Shirow was attached to including "Ghost in the Shell" as well even if in smaller type. === Setting === Primarily set in the mid-twenty-first century in the fictional Japanese city of Niihama, Niihama Prefecture (新浜県新浜市, Niihama-ken Niihama-shi), otherwise known as New Port City (ニューポートシティ, Nyū Pōto Shiti), the manga and the many anime adaptations follow the members of Public Security Section 9, a task-force consisting of various professionals skilled at solving and preventing crime, mostly with some sort of police background. Political intrigue and counter-terrorism operations are standard fare for Section 9, but the various actions of corrupt officials, companies, and cyber-criminals in each scenario are unique and require the diverse skills of Section 9's staff to prevent a series of incidents from escalating. In this post-cyberpunk iteration of a possible future, computer technology has advanced to the point that many members of the public possess cyberbrains, technology that allows them to interface their biological brain with various networks. The level of cyberization varies from simple minimal interfaces to almost complete replacement of the brain with cybernetic parts, in cases of severe trauma. This can also be combined with various levels of prostheses, with a fully prosthetic body enabling a person to become a cyborg. The main character of Ghost in the Shell, Major Motoko Kusanagi, is such a cyborg, having had a terrible accident befall her as a child that ultimately required her to use a full-body prosthesis to house her cyberbrain. This high level of cyberization, however, opens the brain up to attacks from highly skilled hackers, with the most dangerous being those who will hack a person to bend to their whims. == Media == === Literature === ==== Original manga ==== The original Ghost in the Shell manga ran in Japan from April 1989 to November 1990 in Kodansha's manga anthology Young Magazine, and was released in a tankōbon volume on October 2, 1991. Ghost in the Shell 2: Man-Machine Interface followed in 1997 for nine issues in Young Magazine, and was collected in the Ghost in the Shell: Solid Box on December 1, 2000. Then a standard version with modifications and new pages was published on June 26, 2001. Four stories from Man-Machine Interface that were not released in tankobon format from previous releases were later collected in Ghost in the Shell 1.5: Human-Error Processor, and published by Kodansha on July 17, 2003. Several art books have also been published for the manga. === Films === ==== Animated films ==== Two animated films based on the original manga have been released, both directed by Mamoru Oshii and animated by Production I.G. Ghost in the Shell was released in 1995 and follows the "Puppet Master" storyline from the manga. It was re-released in 2008 as Ghost in the Shell 2.0 with new audio and updated 3D computer graphics in certain scenes. Innocence, otherwise known as Ghost in the Shell 2: Innocence, was released in 2004, with its story based on a chapter from the first manga. ==== Live-action film ==== In 2008, DreamWorks and producer Steven Spielberg acquired the rights to a live-action film adaptation of the original Ghost in the Shell manga. On January 24, 2014, Rupert Sanders was announced as director, with a screenplay by William Wheeler. In April 2016, the full cast was announced, which included Juliette Binoche, Chin Han, Lasarus Ratuere and Kaori Momoi, and Scarlett Johansson in the lead role; the casting of Johansson drew accusations of whitewashing. Principal photography on the film began on location in Wellington, New Zealand, on February 1, 2016. Filming wrapped in June 2016. Ghost in the Shell premiered in Tokyo on March 16, 2017, and was released in the United States on March 31, 2017, in 2D, 3D and IMAX 3D. It received mixed reviews, with praise for its visuals and Johansson's performance but criticism for its script. === Television === ==== Stand Alone Complex TV series, film and ONA ==== In 2002, Ghost in the Shell: Stand Alone Complex premiered on Animax, presenting a new telling of Ghost in the Shell independent from the original manga, focusing on Section 9's investigation of the Laughing Man hacker. It was followed in 2004 by a second season titled Ghost in the Shell: S.A.C. 2nd GIG, which focused on the Individual Eleven terrorist group. The primary storylines of both seasons were compressed into OVAs broadcast as Ghost in the Shell: Stand Alone Complex The Laughing Man in 2005 and Ghost in the Shell: Stand Alone Complex Individual Eleven in 2006. Also in 2006, Ghost in the Shell: Stand Alone Complex - Solid State Society, featuring Section 9's confrontation with a hacker known as the Puppeteer, was broadcast, serving as a finale to the anime series. The extensive score for the series and its films was composed by Yoko Kanno. On April 7, 2017, Kodansha and Production I.G announced that Kenji Kamiyama and Shinji Aramaki would be co-directing a new Kōkaku Kidōtai anime production. On December 7, 2018, it was reported by Netflix that they had acquired the worldwide streaming rights to the original net animation (ONA) anime series, titled Ghost in the Shell: SAC_2045, and that it would premiere on April 23, 2020. The series is in 3DCG and Sola Digital Arts collaborated with Production I.G on the project. Ilya Kuvshinov handled character designs. The series had two seasons of 12 episodes each. In addition to the anime, a series of published books, two separate manga adaptations, and several video games for consoles and mobile phones have been released for Stand Alone Complex. ==== Arise OVA, TV series and film ==== In 2013, a new iteration of the series titled Ghost in the Shell: Arise premiered, taking an original look at the Ghost in the Shell world, set before the original manga. It was released as a series of four original video animation (OVA) episodes (with limited theatrical releases) from 2013 to 2014, then recompiled as a 10-episode television series under the title of Kōkaku Kidōtai: Arise - Alternative Architecture. An additional fifth OVA titled Pyrophoric Cult, originally premiering in the Alternative Architecture broadcast as two original episodes, was released on August 26, 2015. Kazuchika Kise served as the chief director of the series, with Tow Ubukata as head writer. Cornelius was brought onto the project to compose the score for the series, with the Major's new voice actress Maaya Sakamoto also providing vocals for certain tracks. Ghost in the Shell: The New Movie, also known as Ghost in the Shell: Arise − The Movie or New Ghost in the Shell, is a 2015 film directed by Kazuya Nomura that serves as a finale to the Ghost in the Shell: Arise story arc. The film is a continuation to the plot of the Pyrophoric Cult episode of Arise, and ties up loose ends from that arc. A manga adaptation was serialized in Kodansha's Young Magazine, which started on March 13 and ended on August 26, 2013. ==== 2026 anime ==== On May 25, 2024, it was announced that a new anime television series adaptation will be produced by Science Saru for a July 2026 premiere. Saru will be in a production committee with Bandai Namco Filmworks, Kodansha and Production I.G. The series will be directed by Monkochan, with a script by EnJoe Toh. === Video games === Ghost in the Shell was developed by Exact and released for the PlayStation on July 17, 1997, in Japan by Sony Computer Entertainment. It is a third-person shooter featuring an original storyline where the character plays a rookie member of Section 9. The video game's soundtrack Megatech Body features various techno artists, such as Takkyu Ishino, Scan X and Mijk Van Dijk. Several video games were also developed to tie into the Stand Alone Complex television series, in addition to a first-person shooter by Nexon and Neople titled Ghost in the Shell: Stand Alone Complex - First Assault Online,

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  • A Very Fatal Murder

    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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  • Argument Web

    Argument Web

    The Argument Web is a large-scale Web of interconnected arguments created by individuals as they express their opinions and interact with the opinions of others. The Argument Web aims to make online debate intuitive for participants such as mediators, students, academics, broadcasters and bloggers, to create a Web infrastructure that allows for the storage, automatic retrieval and analysis of linked argument data, and to improve the quality of online argument and debate. The Argument Web can be described as a portion of a larger Semantic Web. == AIFdb == AIFdb is a database implementation or ‘reification’ of the Argument Interchange Format (AIF), which allows for the storage and retrieval of AIF compliant argument structures. This database solution was provided as a foundation for an open, integrated Argument Web. It offers an extensive range of web services for interacting with stored argument data, while also offering search and argument visualisation features that are all consistent with the formal ontology of AIF. At a basic level, the AIFdb web services allow for the insertion and querying of basic components of an AIF argument, such as nodes, edges and schemes. Building upon this basis, it also facilitates more complex interactions with these AIF argument structures. Such complex queries could make it possible, for example, to determine all the statements made by a particular person in support a given I-Node. While, at its highest level of interaction, AIFdb can handle the import and export of many standard file formats, including SVG, DOT, RDF/XML and other formats of argument theory tools, like Carneades, Rationale and Araucaria. == Argument blogging == ArguBlogging is software which allows its users to select portions of hypertext on webpages in their Web browsers and to agree or disagree with the selected content, posting their arguments to their blogs with linked argument data. It is implemented as a bookmarklet, adding functionality to Web browsers and interoperating with blogging platforms such as Blogger and Tumblr.

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  • Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks (KANs) are a type of artificial neural network architecture inspired by the Kolmogorov–Arnold representation theorem, also known as the superposition theorem. Unlike traditional multilayer perceptrons (MLPs), which rely on fixed activation functions and linear weights, KANs replace each weight with a learnable univariate function, often represented using splines. == History == KANs (Kolmogorov–Arnold Networks) were proposed by Liu et al. (2024) as a generalization of the Kolmogorov–Arnold representation theorem (KART), aiming to outperform MLPs in small-scale AI and scientific tasks. Before KANs, numerous studies explored KART's connections to neural networks or used it as a basis for designing new network architectures. In the 1980s and 1990s, early research applied KART to neural network design. Kůrková et al. (1992), Hecht-Nielsen (1987), and Nees (1994) established theoretical foundations for multilayer networks based on KART. Igelnik et al. (2003) introduced the Kolmogorov Spline Network using cubic splines to model complex functions. Sprecher (1996, 1997) introduced numerical methods for building network layers, while Nakamura et al. (1993) created activation functions with guaranteed approximation accuracy. These works linked KART's theoretical potential with practical neural network implementation. KART has also been used in other computational and theoretical fields. Coppejans (2004) developed nonparametric regression estimators using B-splines, Bryant (2008) applied it to high-dimensional image tasks, Liu (2015) investigated theoretical applications in optimal transport and image encryption, and more recently, Polar and Poluektov (2021) used Urysohn operators for efficient KART construction, while Fakhoury et al. (2022) introduced ExSpliNet, integrating KART with probabilistic trees and multivariate B-splines for improved function approximation. == Architecture == KANs are based on the Kolmogorov–Arnold representation theorem, which was linked to the 13th Hilbert problem. Given x = ( x 1 , x 2 , … , x n ) {\displaystyle x=(x_{1},x_{2},\dots ,x_{n})} consisting of n variables, a multivariate continuous function f ( x ) {\displaystyle f(x)} can be represented as: f ( x ) = f ( x 1 , … , x n ) = ∑ q = 1 2 n + 1 Φ q ( ∑ p = 1 n φ q , p ( x p ) ) {\displaystyle f(x)=f(x_{1},\dots ,x_{n})=\sum _{q=1}^{2n+1}\Phi _{q}\left(\sum _{p=1}^{n}\varphi _{q,p}(x_{p})\right)} (1) This formulation contains two nested summations: an outer and an inner sum. The outer sum ∑ q = 1 2 n + 1 {\displaystyle \sum _{q=1}^{2n+1}} aggregates 2 n + 1 {\displaystyle 2n+1} terms, each involving a function Φ q : R → R {\displaystyle \Phi _{q}:\mathbb {R} \to \mathbb {R} } . The inner sum ∑ p = 1 n {\displaystyle \sum _{p=1}^{n}} computes n terms for each q, where each term φ q , p : [ 0 , 1 ] → R {\displaystyle \varphi _{q,p}:[0,1]\to \mathbb {R} } is a continuous function of the single variable x p {\displaystyle x_{p}} . The inner continuous functions φ q , p {\displaystyle \varphi _{q,p}} are universal, independent of f {\displaystyle f} , while the outer functions Φ q {\displaystyle \Phi _{q}} depend on the specific function f {\displaystyle f} being represented. The representation (1) holds for all multivariate functions f {\displaystyle f} as proved in . If f {\displaystyle f} is continuous, then the outer functions Φ q {\displaystyle \Phi _{q}} are continuous; if f {\displaystyle f} is discontinuous, then the corresponding Φ q {\displaystyle \Phi _{q}} are generally discontinuous, while the inner functions φ q , p {\displaystyle \varphi _{q,p}} remain the same universal functions. Liu et al. proposed the name KAN. A general KAN network consisting of L layers takes x to generate the output as: K A N ( x ) = ( Φ L − 1 ∘ Φ L − 2 ∘ ⋯ ∘ Φ 1 ∘ Φ 0 ) x {\displaystyle \mathrm {KAN} (x)=(\Phi ^{L-1}\circ \Phi ^{L-2}\circ \cdots \circ \Phi ^{1}\circ \Phi ^{0})x} (3) Here, Φ l {\displaystyle \Phi ^{l}} is the function matrix of the l-th KAN layer or a set of pre-activations. Let i denote the neuron of the l-th layer and j the neuron of the (l+1)-th layer. The activation function φ j , i l {\displaystyle \varphi _{j,i}^{l}} connects (l, i) to (l+1, j): φ j , i l , l = 0 , … , L − 1 , i = 1 , … , n l , j = 1 , … , n l + 1 {\displaystyle \varphi _{j,i}^{l},\quad l=0,\dots ,L-1,\;i=1,\dots ,n_{l},\;j=1,\dots ,n_{l+1}} (4) where nl is the number of nodes of the l-th layer. Thus, the function matrix Φ l {\displaystyle \Phi ^{l}} can be represented as an n l + 1 × n l {\displaystyle n_{l+1}\times n_{l}} matrix of activations: x l + 1 = ( φ 1 , 1 l ( ⋅ ) φ 1 , 2 l ( ⋅ ) ⋯ φ 1 , n l l ( ⋅ ) φ 2 , 1 l ( ⋅ ) φ 2 , 2 l ( ⋅ ) ⋯ φ 2 , n l l ( ⋅ ) ⋮ ⋮ ⋱ ⋮ φ n l + 1 , 1 l ( ⋅ ) φ n l + 1 , 2 l ( ⋅ ) ⋯ φ n l + 1 , n l l ( ⋅ ) ) x l {\displaystyle x^{l+1}={\begin{pmatrix}\varphi _{1,1}^{l}(\cdot )&\varphi _{1,2}^{l}(\cdot )&\cdots &\varphi _{1,n_{l}}^{l}(\cdot )\\\varphi _{2,1}^{l}(\cdot )&\varphi _{2,2}^{l}(\cdot )&\cdots &\varphi _{2,n_{l}}^{l}(\cdot )\\\vdots &\vdots &\ddots &\vdots \\\varphi _{n_{l+1},1}^{l}(\cdot )&\varphi _{n_{l+1},2}^{l}(\cdot )&\cdots &\varphi _{n_{l+1},n_{l}}^{l}(\cdot )\end{pmatrix}}x^{l}} == Implementations == To make the KAN layers optimizable, the inner function is formed by the combination of spline and basic functions as the formula: φ ( x ) = w b b ( x ) + w s spline ( x ) {\displaystyle \varphi (x)=w_{b}\,b(x)+w_{s}\,{\text{spline}}(x)} where b ( x ) {\displaystyle b(x)} is the basic function, usually defined as s i l u ( x ) = x / ( 1 + e x ) {\displaystyle silu(x)=x/(1+e^{x})} and w b {\displaystyle w_{b}} is the base weight matrix. Also, w s {\displaystyle w_{s}} is the spline weight matrix and spline ( x ) {\displaystyle {\text{spline}}(x)} is the spline function. The spline function can be a sum of B-splines. spline ( x ) = ∑ i c i B i ( x ) {\displaystyle {\text{spline}}(x)=\sum _{i}c_{i}B_{i}(x)} Many studies suggested to use other polynomial and curve functions instead of B-spline to create new KAN variants. == Functions used == The choice of functional basis strongly influences the performance of KANs. Common function families include: B-splines: Provide locality, smoothness, and interpretability; they are the most widely used in current implementations. RBFs (include Gaussian RBFs): Capture localized features in data and are effective in approximating functions with non-linear or clustered structures. Chebyshev polynomials: Offer efficient approximation with minimized error in the maximum norm, making them useful for stable function representation. Rational function: Useful for approximating functions with singularities or sharp variations, as they can model asymptotic behavior better than polynomials. Fourier series: Capture periodic patterns effectively and are particularly useful in domains such as physics-informed machine learning. Wavelet functions (DoG, Mexican hat, Morlet, and Shannon): Used for feature extraction as they can capture both high-frequency and low-frequency data components. Piecewise linear functions: Provide efficient approximation for multivariate functions in KANs. == Usage == In some modern neural architectures like convolutional neural networks (CNNs), recurrent neural networks (RNNs), and Transformers, KANs are typically used as drop-in substitutes for MLP layers. Despite KANs' general-purpose design, researchers have created and used them for a number of tasks: Scientific machine learning (SciML): Function fitting, partial differential equations (PDEs) and physical/mathematical laws. Continual learning: KANs better preserve previously learned information during incremental updates, avoiding catastrophic forgetting due to the locality of spline adjustments. Graph neural networks: Extensions such as Kolmogorov–Arnold Graph Neural Networks (KA-GNNs) integrate KAN modules into message-passing architectures, showing improvements in molecular property prediction tasks. Sensor data processing: Kolmogorov–Arnold Networks (KANs) have recently been applied to sensor data processing due to their ability to model complex nonlinear relationships with relatively few parameters and improved interpretability compared to conventional multilayer perceptrons. Applications include industrial soft sensors, biomedical signal analysis, remote sensing, and environmental monitoring systems. == Drawbacks == KANs can be computationally intensive and require a large number of parameters due to their use of polynomial functions to capture data.

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  • Fuzzy finite element

    Fuzzy finite element

    The fuzzy finite element method combines the well-established finite element method with the concept of fuzzy numbers, the latter being a special case of a fuzzy set. The advantage of using fuzzy numbers instead of real numbers lies in the incorporation of uncertainty (on material properties, parameters, geometry, initial conditions, etc.) in the finite element analysis. One way to establish a fuzzy finite element (FE) analysis is to use existing FE software (in-house or commercial) as an inner-level module to compute a deterministic result, and to add an outer-level loop to handle the fuzziness (uncertainty). This outer-level loop comes down to solving an optimization problem. If the inner-level deterministic module produces monotonic behavior with respect to the input variables, then the outer-level optimization problem is greatly simplified, since in this case the extrema will be located at the vertices of the domain.

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  • Argument mining

    Argument mining

    Argument mining, or argumentation mining, is a research area within the natural language processing field. The goal of argument mining is the automatic extraction and identification of argumentative structures from natural language text with the aid of computer programs. Such argumentative structures include the premise, conclusions, the argument scheme and the relationship between the main and subsidiary argument, or the main and counter-argument within discourse. The Argument Mining workshop series is the main research forum for argument mining related research. == Applications == Argument mining has been applied in many different genres including the qualitative assessment of social media content (e.g. Twitter, Facebook), where it provides a powerful tool for policy-makers and researchers in social and political sciences. Other domains include legal documents, product reviews, scientific articles, online debates, newspaper articles and dialogical domains. Transfer learning approaches have been successfully used to combine the different domains into a domain agnostic argumentation model. Argument mining has been used to provide students individual writing support by accessing and visualizing the argumentation discourse in their texts. The application of argument mining in a user-centered learning tool helped students to improve their argumentation skills significantly compared to traditional argumentation learning applications. == Challenges == Given the wide variety of text genres and the different research perspectives and approaches, it has been difficult to reach a common and objective evaluation scheme. Many annotated data sets have been proposed, with some gaining popularity, but a consensual data set is yet to be found. Annotating argumentative structures is a highly demanding task. There have been successful attempts to delegate such annotation tasks to the crowd but the process still requires a lot of effort and carries significant cost. Initial attempts to bypass this hurdle were made using the weak supervision approach.

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  • Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

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  • Carrier cloud

    Carrier cloud

    In cloud computing, a carrier cloud is a class of cloud that integrates wide area networks (WAN) and other attributes of communications service providers’ carrier-grade networks to enable the deployment of highly-complex applications in the cloud. In contrast, classic cloud computing focuses on the data center and does not address the network connecting data centers and cloud users. This may result in unpredictable response times and security issues when business-critical data are transferred over the Internet. == History == The advent of virtualization technology, cost-effective computing hardware, and ubiquitous Internet connectivity have enabled the first wave of cloud services starting in the early years of the 21st century. But many businesses and other organizations hesitated to move to more demanding applications, from on-premises dedicated hardware to private or public clouds. As a response, communications service providers started in the 2010/2011 time frame to develop carrier clouds that address perceived weaknesses in existing cloud services. Cited weaknesses vary but often include possible downtime, security issues, high cost of custom software and data transfer, inflexibility of some cloud apps, poor customer and nonfulfillment of service level agreements (SLAs). == Characteristics == To enable the deployment of time-sensitive and business critical applications in the cloud, the carrier cloud is designed to match or even exceed the characteristics of on-premises deployments. Therefore, the carrier cloud is characterized by some or all of the following items: Configurable, elastic network performance: Typical cloud computing solutions use the best effort of the public Internet to connect cloud users and data centers. This approach provides instant connectivity but does not offer control over network capacities, latencies, and jitter. Carrier clouds address these gaps with content delivery networks and/or dedicated virtual private networks (VPN) at OSI layers 1 (optical wavelengths), 2 (data link layer), and 3 (network layer). These VPNs can be configured to offer the desired performance parameters and exhibit the same type of elasticity for the network that regular clouds provide for servers and storage. To achieve the requested performance parameters, such as low latency, cloud applications can be (automatically) allocated to distributed data centers that are close enough to the cloud users. Automatic resource placement: For a cloud with multiple data centers, information about both the data center and the connecting network is relevant for a decision of where to place cloud images and storage volumes. For this decision, carrier clouds can obtain relevant information about the network, e.g., using the Application-Layer Traffic Optimization (ALTO) protocol. High level of security and governance: Cloud application providers are subject to general and domain specific security, privacy, and governance requirements and regulations, such as the European Data Protection Directive and the U.S. Health Insurance Portability and Accountability Act. For added security, the wide area network of the carrier cloud can provide segregated encrypted or unencrypted network links that are not accessible from the general Internet. At the data center, the carrier cloud provides e.g. virtual private servers, management processes, logs, and documentation to fulfill security and governance rules. Location control: Fundamentally, cloud users should not be concerned with the geographic location of their cloud resources. However, privacy and other regulations may mandate that certain types of data must not be sent outside a national jurisdiction or other geographical region. Open APIs: Carrier clouds provide graphical user interfaces and Web application programming interfaces that allow cloud application providers to set up, manage, and monitor both, the data center and the WAN, of their cloud services. == Architecture == Carrier clouds encompass data centers at different network tiers and wide area networks that connect multiple data centers to each other as well as to the cloud users. Links between data centers are used for failover, overflow, backup, and geographic diversity. Carrier clouds can be set up as public, private, or hybrid clouds. The carrier cloud federates these cloud entities by using a single management system to orchestrate, manage, and monitor data center and network resources as a single system.

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  • AI Now Institute

    AI Now Institute

    The AI Now Institute (AI Now) is an American research institute studying the social implications of artificial intelligence and policy research that addresses the concentration of power in the tech industry. AI Now has partnered with organizations such as the Distributed AI Research Institute (DAIR), Data & Society, Ada Lovelace Institute, New York University Tandon School of Engineering, New York University Center for Data Science, Partnership on AI, and the ACLU. AI Now has produced annual reports that examine the social implications of artificial intelligence. In 2021–22, AI Now's leadership served as a Senior Advisors on AI to Chair Lina Khan at the Federal Trade Commission. Its executive director is Amba Kak. == Founding and mission == AI Now grew out of a 2016 symposium organized by Obama's White House Office of Science and Technology Policy. The event was led by Meredith Whittaker, the founder of Google's Open Research Group, and Kate Crawford, a principal researcher at Microsoft Research. The event focused on near-term implications of AI in social domains: Inequality, Labor, Ethics, and Healthcare. In November 2017, AI Now held a second symposium on AI and social issues, and publicly launched the AI Now Institute in partnership with New York University. It is claimed to be the first university research institute focused on the social implications of AI, and the first AI institute founded and led by women. It is now a fully independent institute. In an interview with NPR, Crawford stated that the motivation for founding AI Now was that the application of AI into social domains - such as health care, education, and criminal justice - was being treated as a purely technical problem. The goal of AI Now's research is to treat these as social problems first, and bring in domain experts in areas like sociology, law, and history to study the implications of AI. == Research == AI Now publishes an annual report on the state of AI and its integration into society. Its 2017 report stated that "current framings of AI ethics are failing" and provided ten strategic recommendations for the field - including pre-release trials of AI systems, and increased research into bias and diversity in the field. The report was noted for calling for an end to "black box" systems in core social domains, such as those responsible for criminal justice, healthcare, welfare, and education. In April 2018, AI Now released a framework for algorithmic impact assessments, as a way for governments to assess the use of AI in public agencies. According to AI Now, an AIA would be similar to environmental impact assessment, in that it would require public disclosure and access for external experts to evaluate the effects of an AI system, and any unintended consequences. This would allow systems to be vetted for issues like biased outcomes or skewed training data, which researchers have already identified in algorithmic systems deployed across the country. Its 2023 Report argued that meaningful reform of the tech sector must focus on addressing concentrated power in the tech industry.

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  • Ghost in the Shell

    Ghost in the Shell

    Ghost in the Shell is a Japanese cyberpunk military science fiction media franchise that began with the eponymous manga series, written and illustrated by Masamune Shirow. The manga, first serialized from 1989 to 1991, is set in the mid-21st-century and follows the fictional counter-cyberterrorist organization Public Security Section 9, led by protagonist Major Motoko Kusanagi. Animation studio Production I.G has produced several anime adaptations of the series. These include the 1995 film of the same name and its 2004 sequel, Ghost in the Shell 2: Innocence; the 2002 television series Ghost in the Shell: Stand Alone Complex and its 2020 follow-up, Ghost in the Shell: SAC_2045; and the Ghost in the Shell: Arise original video animation series. In addition, an American-produced live-action film was released in March 2017. == Overview == === Title === The original editor Koichi Yuri says: At first, Ghost in the Shell came from Shirow, but when Yuri asked for "something more flashy", Shirow came up with "攻殻機動隊 Koukaku Kidou Tai (Shell Squad)" for Yuri. But Shirow was attached to including "Ghost in the Shell" as well even if in smaller type. === Setting === Primarily set in the mid-twenty-first century in the fictional Japanese city of Niihama, Niihama Prefecture (新浜県新浜市, Niihama-ken Niihama-shi), otherwise known as New Port City (ニューポートシティ, Nyū Pōto Shiti), the manga and the many anime adaptations follow the members of Public Security Section 9, a task-force consisting of various professionals skilled at solving and preventing crime, mostly with some sort of police background. Political intrigue and counter-terrorism operations are standard fare for Section 9, but the various actions of corrupt officials, companies, and cyber-criminals in each scenario are unique and require the diverse skills of Section 9's staff to prevent a series of incidents from escalating. In this post-cyberpunk iteration of a possible future, computer technology has advanced to the point that many members of the public possess cyberbrains, technology that allows them to interface their biological brain with various networks. The level of cyberization varies from simple minimal interfaces to almost complete replacement of the brain with cybernetic parts, in cases of severe trauma. This can also be combined with various levels of prostheses, with a fully prosthetic body enabling a person to become a cyborg. The main character of Ghost in the Shell, Major Motoko Kusanagi, is such a cyborg, having had a terrible accident befall her as a child that ultimately required her to use a full-body prosthesis to house her cyberbrain. This high level of cyberization, however, opens the brain up to attacks from highly skilled hackers, with the most dangerous being those who will hack a person to bend to their whims. == Media == === Literature === ==== Original manga ==== The original Ghost in the Shell manga ran in Japan from April 1989 to November 1990 in Kodansha's manga anthology Young Magazine, and was released in a tankōbon volume on October 2, 1991. Ghost in the Shell 2: Man-Machine Interface followed in 1997 for nine issues in Young Magazine, and was collected in the Ghost in the Shell: Solid Box on December 1, 2000. Then a standard version with modifications and new pages was published on June 26, 2001. Four stories from Man-Machine Interface that were not released in tankobon format from previous releases were later collected in Ghost in the Shell 1.5: Human-Error Processor, and published by Kodansha on July 17, 2003. Several art books have also been published for the manga. === Films === ==== Animated films ==== Two animated films based on the original manga have been released, both directed by Mamoru Oshii and animated by Production I.G. Ghost in the Shell was released in 1995 and follows the "Puppet Master" storyline from the manga. It was re-released in 2008 as Ghost in the Shell 2.0 with new audio and updated 3D computer graphics in certain scenes. Innocence, otherwise known as Ghost in the Shell 2: Innocence, was released in 2004, with its story based on a chapter from the first manga. ==== Live-action film ==== In 2008, DreamWorks and producer Steven Spielberg acquired the rights to a live-action film adaptation of the original Ghost in the Shell manga. On January 24, 2014, Rupert Sanders was announced as director, with a screenplay by William Wheeler. In April 2016, the full cast was announced, which included Juliette Binoche, Chin Han, Lasarus Ratuere and Kaori Momoi, and Scarlett Johansson in the lead role; the casting of Johansson drew accusations of whitewashing. Principal photography on the film began on location in Wellington, New Zealand, on February 1, 2016. Filming wrapped in June 2016. Ghost in the Shell premiered in Tokyo on March 16, 2017, and was released in the United States on March 31, 2017, in 2D, 3D and IMAX 3D. It received mixed reviews, with praise for its visuals and Johansson's performance but criticism for its script. === Television === ==== Stand Alone Complex TV series, film and ONA ==== In 2002, Ghost in the Shell: Stand Alone Complex premiered on Animax, presenting a new telling of Ghost in the Shell independent from the original manga, focusing on Section 9's investigation of the Laughing Man hacker. It was followed in 2004 by a second season titled Ghost in the Shell: S.A.C. 2nd GIG, which focused on the Individual Eleven terrorist group. The primary storylines of both seasons were compressed into OVAs broadcast as Ghost in the Shell: Stand Alone Complex The Laughing Man in 2005 and Ghost in the Shell: Stand Alone Complex Individual Eleven in 2006. Also in 2006, Ghost in the Shell: Stand Alone Complex - Solid State Society, featuring Section 9's confrontation with a hacker known as the Puppeteer, was broadcast, serving as a finale to the anime series. The extensive score for the series and its films was composed by Yoko Kanno. On April 7, 2017, Kodansha and Production I.G announced that Kenji Kamiyama and Shinji Aramaki would be co-directing a new Kōkaku Kidōtai anime production. On December 7, 2018, it was reported by Netflix that they had acquired the worldwide streaming rights to the original net animation (ONA) anime series, titled Ghost in the Shell: SAC_2045, and that it would premiere on April 23, 2020. The series is in 3DCG and Sola Digital Arts collaborated with Production I.G on the project. Ilya Kuvshinov handled character designs. The series had two seasons of 12 episodes each. In addition to the anime, a series of published books, two separate manga adaptations, and several video games for consoles and mobile phones have been released for Stand Alone Complex. ==== Arise OVA, TV series and film ==== In 2013, a new iteration of the series titled Ghost in the Shell: Arise premiered, taking an original look at the Ghost in the Shell world, set before the original manga. It was released as a series of four original video animation (OVA) episodes (with limited theatrical releases) from 2013 to 2014, then recompiled as a 10-episode television series under the title of Kōkaku Kidōtai: Arise - Alternative Architecture. An additional fifth OVA titled Pyrophoric Cult, originally premiering in the Alternative Architecture broadcast as two original episodes, was released on August 26, 2015. Kazuchika Kise served as the chief director of the series, with Tow Ubukata as head writer. Cornelius was brought onto the project to compose the score for the series, with the Major's new voice actress Maaya Sakamoto also providing vocals for certain tracks. Ghost in the Shell: The New Movie, also known as Ghost in the Shell: Arise − The Movie or New Ghost in the Shell, is a 2015 film directed by Kazuya Nomura that serves as a finale to the Ghost in the Shell: Arise story arc. The film is a continuation to the plot of the Pyrophoric Cult episode of Arise, and ties up loose ends from that arc. A manga adaptation was serialized in Kodansha's Young Magazine, which started on March 13 and ended on August 26, 2013. ==== 2026 anime ==== On May 25, 2024, it was announced that a new anime television series adaptation will be produced by Science Saru for a July 2026 premiere. Saru will be in a production committee with Bandai Namco Filmworks, Kodansha and Production I.G. The series will be directed by Monkochan, with a script by EnJoe Toh. === Video games === Ghost in the Shell was developed by Exact and released for the PlayStation on July 17, 1997, in Japan by Sony Computer Entertainment. It is a third-person shooter featuring an original storyline where the character plays a rookie member of Section 9. The video game's soundtrack Megatech Body features various techno artists, such as Takkyu Ishino, Scan X and Mijk Van Dijk. Several video games were also developed to tie into the Stand Alone Complex television series, in addition to a first-person shooter by Nexon and Neople titled Ghost in the Shell: Stand Alone Complex - First Assault Online,

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