AI Grammar Remover

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

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  Clone tool

  The clone tool, as it is known in Adobe Photoshop, Inkscape, GIMP, and Corel PhotoPaint, is used in digital image editing to replace information for one part of a picture with information from another part. In other image editing software, its equivalent is sometimes called a rubber stamp tool or a clone brush. == Applications == The clone tool can remove objects by copying a nearby background. The user selects a matching location as the source, then paints over the element to be hidden. A typical use for the tool is in object removal – more colloquially, "airbrushing" or "photoshopping" out an unwanted part of the image. If a part of an image is removed simply by cutting it out, then a hole is left in the background. The Clone tool can fill in this hole convincingly with a copy of the existing background from elsewhere in the image. A common use for this tool is to retouch skin, particularly in portraits, to remove blemishes and make skin tones more even. Cloning can also be used to remove other unwanted elements, such as telephone wires, an unwanted bird in the sky, and the like. A more automated method of object removal uses texture synthesis to fill in gaps. Of these, patch-based texture synthesis or "image quilting" is essentially an automated application of the clone tool, choosing the optimal source area so as to patch over with a minimal seam. In some cases, the undesired object is mixed with the remainder of the image, and a simple circular brush, even with feathering, would not work. For these cases, some programs allow an object to be selected by color/outline so other areas are not affected. Other programs allow edge/color sensitive brushes to deal with such objects. == Healing tool == A similar tool is the healing tool, which occurs in variants such as the healing brush or spot healing tool. These incorporate the existing texture, rather than painting it over.

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  Oxa

  Oxa (formerly Oxbotica) is an autonomous vehicle software company, headquartered in Oxfordshire, England, and founded by Paul Newman and Ingmar Posner. == History == In 2013, Newman and Posner led the RobotCar UK project as part of Oxford University's Department of Engineering Science Mobile Robotics Group. RobotCar became the first autonomous vehicle on UK roads. In 2014, the pair used the newly developed technology to found Oxbotica. Oxbotica has raised over $18 million to date and is backed by the IP Group, Parkwalk Advisors and AXA XL. In 2018, Uber's former EMEA business head, Fraser Robinson, was appointed to the board of directors. In May 2019, Ozgur Tohumcu replaced Dr Graeme Smith as Oxbotica's CEO. Also in 2019, the company opened an office in Toronto, Canada. In January 2021, Oxbotica announced it had raised $47 million in a Series B round. In August 2021, the company achieved a safety landmark as the first company to have its autonomy safety case assessed by BSI (British Standards Institution) against the requirements of the UK Code of Practice 2019, PAS 1881:2020 and PAS 1883:2020, certifying the safety conformity of its autonomous vehicle trials and testing. The assessment was completed as part of Project Endeavour, the UK's first multi-city demonstration of autonomous vehicle services and capability. In December 2021, Gavin Jackson was named CEO. In January 2023, the company raised $140 million in a Series C round. In May 2023, the company changed its name to Oxa. Oxa raised $103 million (£77 million) in March 2026, including $50 million from the UK National Wealth Fund. Nvidia's venture capital division, NVentures, also invested in the Series D funding round, along with existing Oxa shareholders IP Group, Australian pension fund Hostplus, and BP Ventures, a division of the UK oil company. == Technology == Oxa designs software and hardware for the conversion of industrial vehicles into autonomous ones. Its full stack, end-to-end Universal Autonomy software is both vehicle and platform-agnostic, with no dependence on external infrastructure such as GPS. It can be deployed in any environment and on any terrain. In addition to underground uses, the technology is also useful in natural canyons and forests, where GPS signals are weak or non-existent, but also in "urban canyons" — cities with tall buildings that obstruct GPS signals for proper navigation. == Public deployments == The LUTZ Pathfinder pod had its first public demonstration in February 2015 in Milton Keynes. The Government-funded project was designed to ensure that autonomous vehicles would comply with the Highway Code. The pod featured autonomous control software from Oxbotica, including 19 sensors, cameras, radar and Lidar. As part of the GATEway Project in 2017, Oxbotica trialled seven autonomous shuttle buses in Greenwich, navigating a two-mile riverside path near London's O2 Arena on a route that is also used by pedestrians and cyclists. Oxbotica ran the UK's first trial of autonomous grocery deliveries that year, with British online supermarket Ocado in London, as the next step in the GATEway Project. In 2018, Oxbotica deployed its autonomous vehicle software at London's Gatwick Airport, which subsequently became the first airport in the world to trial an autonomous shuttle service. The electric-powered vehicles transported staff via airside roads between the airport's North and South terminals. An airside trial of Oxbotica's autonomous driving technology was then successfully completed at Heathrow Airport in partnership with IAG Cargo, the first airside trial of an autonomous vehicle at a UK airport. The Oxbotica-designed CargoPod ran autonomously along a cargo route around the airside perimeter for three weeks. As part of the UK Centre for Connected and Autonomous Vehicles-funded DRIVEN project, Oxbotica is developing and deploying a fleet of Ford Fusion autonomous vehicles running in both London and Oxford on public roads, and in conjunction with its consortium partners, running real-time insurance. AXA XL is partnering with Oxbotica on the development of smart insurance products using Oxbotica's autonomy technology to improve road safety. In 2018, Oxbotica announced a partnership with London private taxi firm Addison Lee to develop and deploy autonomous taxis in the city of London by 2021. A 3D street mapping exercise was conducted in London's Canary Wharf. In 2019, Oxbotica deployed a fleet of their autonomous technology within Ford Mondeo cars on public roads in Stratford, London to test their use in city environments. The £13.2 million project is in collaboration with The DRIVEN Project to develop self-driving cars. == Awards == 2019 Royal Academy of Engineering Silver Medal - Paul Newman 2017 Financial Times ArcelorMittal Boldness in Business Award Barclays Award for Innovation 2016 Frost & Sullivan Award, Technology Leadership for Autonomous Driving Software

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  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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  The Sword in the Stoned

  "The Sword in the Stoned" is the fifth episode of the second season of the American fantasy comedy television series Ted. Written by Julius Sharpe, and directed by Seth MacFarlane, it premiered on the American streaming service Peacock, along with the rest of season two, on March 5, 2026. The series acts as a precursor to the Ted film franchise, showcasing the childhood lives of the protagonists. The series, set in 1994, focuses on John Bennett (Max Burkholder), the series' primary protagonist, an awkward high-school aged boy; along with Ted (MacFarlane), the series' titular anthropomorphic teddy bear. The two live with John's family, Susan (Alanna Ubach), his mild mannered mother, and Matty (Scott Grimes), his conservative father. Also residing with the family is Blaire (Giorgia Whigham), his radically liberal cousin whom often clashes with Matty. In the episode, Ted and John join the school play so they can have more extracurricular activities for their college applications, but the latter grows a connection with the school's popular teenager, Erin (Francesca Xuereb). Concurrently, Susan and Matty get a job at Dunkin' Donuts to help with their financial troubles, and Matty is given an opportunity to tell off Bill Clinton. Burkholder wore prop armor during the episode's play scenes. Bill Clinton’s appearance in the episode was portrayed by MacFarlane. After conventional makeup and visual techniques failed to convincingly resemble Clinton, the production used artificial intelligence to digitally replace MacFarlane's face with Clinton's likeness. Upon release, the episode received generally positive reviews from critics, though the use of AI in the Clinton scene was polarizing among audiences and reviewers. == Plot == John tells Ted that he is the last single guy left at their school, to which Ted points out the popular, single cheerleader, Erin, but John dismisses this. At home, Blaire tells John that he needs extracurricular activities to get into college, while Susan and Matty discuss their financial troubles, especially regarding John's college tuition. Looking over their options, they decide to audition for a school production of the play Camelot. Matty takes a job at Dunkin' Donuts, despite being told that nobody will give him a tip, and having to wear an incorrect name tag. Waiting for their auditions, John and Ted watch several poor auditions for the play before seeing Erin's, who delivers a flawless performance; John and Ted do less serious auditions, getting cast as knights, while Erin gets the role of Guinevere. Matty complains about his low salary, and Susan decides to get a job at Dunkin' Donuts beside him to help earn more income. Erin clashes with Lancelot's actor while rehearsing, and John compliments her performance, which she ignores, but, seeing Ted and John give good performances in a repetition exercise, she becomes interested in him, particularly since he treats her better than her stage-partner. Matty and Susan watch an employee training video, explaining how they should treat customers politely, not affecting Matty's nihilistic attitude. The manager announces that Bill Clinton is visiting their Dunkin' Donuts for publicity, and Matty sees this as a chance to tell Bill off. John and Erin practice lines, as she reveals the show is being taped so it can be sent to Emerson College in hopes of her getting in; Erin asks John to go out with her after the show. At dinner, Matty enthusiastically reveals what he plans to tell Bill, as John becomes stressed about the play when Susan tells there will be a large audience. Bill comes to the Dunkin' Donuts, and, seeing Matty is nervously insulting him, stages a private meeting with him, where Bill yells at Matty, calling him a loser before posing for a picture with Matty and subsequently throwing the cold coffee onto him. To ease the pressure, Ted and John take edibles from Blaire, but learn at the show that they contained mushrooms, causing them to stress further. On stage, Ted and John yell nervously that they're on drugs as the latter urinates in his costume, causing Erin to angrily storm off. == Production == "The Sword in the Stoned" was directed by series creator and lead Seth MacFarlane, and written by Julius Sharpe in his third and final writing credit for the series. When Ted and John are doing repetition exercises, they tackle each other to the ground, which required a stuntman named Ashton to play the role of Ted, according to Max Burkholder, who portrays John. Burkholder also recalled that, when Ted was choking John in the scene, he kept making a noise during the choking, which made Bill, the cameraman, laugh, despite being a "stone face" that never laughs, noting that seeing him be amused by the noise he was making assured Burkholder that what he was doing was "hilarious". Burkholder found the filming of the play scenes "weird", as he was put in fake armor with a hose inside his suit—which was filled with water mixed with yellow food coloring—that was made to create the urine stream that comes out of John's armor in the episode; he also noted that it took around 45 minutes to put on and take off the armor. He revealed that he himself had to urinate during the filming, as doing a scene about a character having to do so "really [broke] my brain", with the fact that it took 45 minutes to get the suit off adding to the frustration. Jennifer Ashley Connell, who worked for wardrobe, had to repeatedly go to Burkholder quickly between takes to dry off his pants with two hair dryers to make it look like the fake urine hadn't already streamed down his pants, so they could get as many shots of it as possible. Francesca Xuereb guest stars in the episode as Erin, the cheerleader who stars in the play. Incumbent president Bill Clinton was portrayed by MacFarlane, with artificial intelligence (AI) being used to digitally make MacFarlane's face look like Clinton's during post-production. Before settling on AI, the crew tried to use traditional computer-generated imagery and prosthetics, which made him look "terrifying", resulting in them deciding that AI would give them a more accurate look. One of the original technologies considered was one where, after scanning MacFarlane, a mesh of his head was created, and they had to use computer graphics to replace MacFarlane's face with Clinton's. An issue was faced, however, when they found the archival footage used as reference from the Clinton Library—an official Presidential Library containing information related to Clinton—to be extremely low-quality, making it hard to properly emulate his face, since only still images were of acceptable quality, and there weren't references of his moving face to work off of. A forensic artist was hired to help with this, and they created a 3D model of Clinton's head in ZBrush, based off of his presidential portrait. The model head worked for still frames, but movement was still difficult to do realistically, due to it being made for a "single-point perspective", which made details like the cheekbones or other minor issues more noticeable when using it for the scene. Since this did not work, AI was ultimately chosen through the studio Deep Voodoo, which used large language models to teach the tool how to correctly replicate Clinton's appearance. Defending the episode's use of AI, MacFarlane noted that the crew did not want people to focus on the tool being used, trying to utilize it in a way that wouldn't distract from the humor and narrative. Like the rest of the series, the episode was shot using ViewScreen; MacFarlane was able to act live with the cast as Ted due to ViewScreen, a technology that allows the production crew to visualize what Ted will look like in each scene in real time. == Release and reception == "The Sword in the Stoned" was first released on March 5, 2026, on the American streaming service Peacock, along with the rest of the second season. Nate Richards of Collider highlighted the Dunkin' Donuts subplot as an example of Scott Grimes delivering a "lot of laughs" through his performance as Matty. Dustin Rowles of Pajiba called "The Sword in the Stoned" one of the season's many episodes he'd recommend, particularly for the scenes of Ted and John being high on mushrooms during the play. Oppositely, Nick Valdez of ComicBook.com ranked the episode as the worst of the second season, criticizing it for not having a "huge impact" on the Bennett family dynamic like other episodes of the season do, and Susan and Matty's side story as the main reason he felt it was "[kept] from being great". Valdez noted the episode for likely being an advertisement for Dunkin' Donuts, calling the plot's ending scene involving Clinton the reason "it just all sticks out like a sore thumb". === Response to AI usage === The episode's use of AI for MacFarlane's portrayal of Clinton proved controversial, mainly on social media, where audiences asserted that the crew should have gotten an actor that resembl

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  AI safety

  AI safety is an interdisciplinary field focused on preventing accidents, misuse, or other harmful consequences arising from artificial intelligence systems. It encompasses AI alignment (which aims to ensure AI systems behave as intended), monitoring AI systems for risks, and enhancing their robustness. The field is particularly concerned with existential risks posed by advanced AI models. Beyond technical research, AI safety involves developing norms and policies that promote safety, including advocacy for regulations at different levels of government. The field gained significant popularity in 2023, with rapid progress in generative AI and public concerns voiced by researchers and CEOs about potential dangers. During the 2023 AI Safety Summit, the United States and the United Kingdom both established their own AI Safety Institute. However, researchers have expressed concern that AI safety measures are not keeping pace with the rapid development of AI capabilities. == Motivations == Scholars discuss current risks from critical systems failures, bias, and AI-enabled surveillance, as well as emerging risks like technological unemployment, digital manipulation, weaponization, AI-enabled cyberattacks and bioterrorism. They also discuss speculative risks from losing control of future artificial general intelligence (AGI) agents, or from AI enabling perpetually stable dictatorships. === Existential safety === Some have criticized concerns about AGI, such as Andrew Ng who compared them in 2015 to "worrying about overpopulation on Mars when we have not even set foot on the planet yet". Stuart J. Russell on the other side urges caution, arguing that "it is better to anticipate human ingenuity than to underestimate it". AI researchers have widely differing opinions about the severity and primary sources of risk posed by AI technology – though surveys suggest that experts take high consequence risks seriously. In two surveys of AI researchers, the median respondent was optimistic about AI overall, but placed a 5% probability on an "extremely bad (e.g. human extinction)" outcome of advanced AI. In a 2022 survey of the natural language processing community, 37% agreed or weakly agreed that it is plausible that AI decisions could lead to a catastrophe that is "at least as bad as an all-out nuclear war". == History == Risks from AI began to be seriously discussed at the start of the computer age: Moreover, if we move in the direction of making machines which learn and whose behavior is modified by experience, we must face the fact that every degree of independence we give the machine is a degree of possible defiance of our wishes. In 1988 Blay Whitby published a book outlining the need for AI to be developed along ethical and socially responsible lines. From 2008 to 2009, the Association for the Advancement of Artificial Intelligence (AAAI) commissioned a study to explore and address potential long-term societal influences of AI research and development. The panel was generally skeptical of the radical views expressed by science-fiction authors but agreed that "additional research would be valuable on methods for understanding and verifying the range of behaviors of complex computational systems to minimize unexpected outcomes". In 2011, Roman Yampolskiy introduced the term "AI safety engineering" at the Philosophy and Theory of Artificial Intelligence conference, listing prior failures of AI systems and arguing that "the frequency and seriousness of such events will steadily increase as AIs become more capable". In 2014, philosopher Nick Bostrom published the book Superintelligence: Paths, Dangers, Strategies. He has the opinion that the rise of AGI has the potential to create various societal issues, ranging from the displacement of the workforce by AI, manipulation of political and military structures, to even the possibility of human extinction. His argument that future advanced systems may pose a threat to human existence prompted Elon Musk, Bill Gates, and Stephen Hawking to voice similar concerns. In 2015, dozens of artificial intelligence experts signed an open letter on artificial intelligence calling for research on the societal impacts of AI and outlining concrete directions. To date, the letter has been signed by over 8000 people including Yann LeCun, Shane Legg, Yoshua Bengio, and Stuart Russell. In the same year, a group of academics led by professor Stuart J. Russell founded the Center for Human-Compatible AI at the University of California Berkeley and the Future of Life Institute awarded $6.5 million in grants for research aimed at "ensuring artificial intelligence (AI) remains safe, ethical and beneficial". In 2016, the White House Office of Science and Technology Policy and Carnegie Mellon University announced The Public Workshop on Safety and Control for Artificial Intelligence, which was one of a sequence of four White House workshops aimed at investigating "the advantages and drawbacks" of AI. In the same year, Concrete Problems in AI Safety – one of the first and most influential technical AI Safety agendas – was published. In 2017, the Future of Life Institute sponsored the Asilomar Conference on Beneficial AI, where more than 100 thought leaders formulated principles for beneficial AI including "Race Avoidance: Teams developing AI systems should actively cooperate to avoid corner-cutting on safety standards". In 2018, the DeepMind Safety team outlined AI safety problems in specification, robustness, and assurance. The following year, researchers organized a workshop at ICLR that focused on these problem areas. In 2021, Unsolved Problems in ML Safety was published, outlining research directions in robustness, monitoring, alignment, and systemic safety. In 2023, Rishi Sunak said he wants the United Kingdom to be the "geographical home of global AI safety regulation" and to host the first global summit on AI safety. The AI safety summit took place in November 2023, and focused on the risks of misuse and loss of control associated with frontier AI models. During the summit the intention to create the International Scientific Report on the Safety of Advanced AI was announced. In 2024, The US and UK forged a new partnership on the science of AI safety. The MoU was signed on 1 April 2024 by US commerce secretary Gina Raimondo and UK technology secretary Michelle Donelan to jointly develop advanced AI model testing, following commitments announced at an AI Safety Summit in Bletchley Park in November. In 2025, an international team of 96 experts chaired by Yoshua Bengio published the first International AI Safety Report. The report, commissioned by 30 nations and the United Nations, represents the first global scientific review of potential risks associated with advanced artificial intelligence. It details potential threats stemming from misuse, malfunction, and societal disruption, with the objective of informing policy through evidence-based findings, without providing specific recommendations. == Research focus == AI safety research areas include robustness, monitoring, and alignment. === Robustness === ==== Adversarial robustness ==== AI systems are often vulnerable to adversarial examples or "inputs to machine learning (ML) models that an attacker has intentionally designed to cause the model to make a mistake". For example, in 2013, Szegedy et al. discovered that adding specific imperceptible perturbations to an image could cause it to be misclassified with high confidence. This continues to be an issue with neural networks, though in recent work the perturbations are generally large enough to be perceptible. The image on the right is predicted to be an ostrich after the perturbation is applied. (Left) is a correctly predicted sample, (center) perturbation applied magnified by 10x, (right) adversarial example. Adversarial robustness is often associated with security. Researchers demonstrated that an audio signal could be imperceptibly modified so that speech-to-text systems transcribe it to any message the attacker chooses. Network intrusion and malware detection systems also must be adversarially robust since attackers may design their attacks to fool detectors. Models that represent objectives (reward models) must also be adversarially robust. For example, a reward model might estimate how helpful a text response is and a language model might be trained to maximize this score. Researchers have shown that if a language model is trained for long enough, it will leverage the vulnerabilities of the reward model to achieve a better score and perform worse on the intended task. This issue can be addressed by improving the adversarial robustness of the reward model. More generally, any AI system used to evaluate another AI system must be adversarially robust. This could include monitoring tools, since they could also potentially be tampered with to produce a higher reward. Large language models (LLMs) can be vulnerable to prom

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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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  Clanker

  Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.

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  Gene expression programming

  Gene expression programming (GEP) in computer programming is an evolutionary algorithm that creates computer programs or models. These computer programs are complex tree structures that learn and adapt by changing their sizes, shapes, and composition, much like a living organism. And like living organisms, the computer programs of GEP are also encoded in simple linear chromosomes of fixed length. Thus, GEP is a genotype–phenotype system, benefiting from a simple genome to keep and transmit the genetic information and a complex phenotype to explore the environment and adapt to it. == Background == Evolutionary algorithms use populations of individuals, select individuals according to fitness, and introduce genetic variation using one or more genetic operators. Their use in artificial computational systems dates back to the 1950s where they were used to solve optimization problems (e.g. Box 1957 and Friedman 1959). But it was with the introduction of evolution strategies by Rechenberg in 1965 that evolutionary algorithms gained popularity. A good overview text on evolutionary algorithms is the book "An Introduction to Genetic Algorithms" by Mitchell (1996). Gene expression programming belongs to the family of evolutionary algorithms and is closely related to genetic algorithms and genetic programming. From genetic algorithms it inherited the linear chromosomes of fixed length; and from genetic programming it inherited the expressive parse trees of varied sizes and shapes. In gene expression programming the linear chromosomes work as the genotype and the parse trees as the phenotype, creating a genotype/phenotype system. This genotype/phenotype system is multigenic, thus encoding multiple parse trees in each chromosome. This means that the computer programs created by GEP are composed of multiple parse trees. Because these parse trees are the result of gene expression, in GEP they are called expression trees. Masood Nekoei, et al. utilized this expression programming style in ABC optimization to conduct ABCEP as a method that outperformed other evolutionary algorithms.ABCEP == Encoding: the genotype == The genome of gene expression programming consists of a linear, symbolic string or chromosome of fixed length composed of one or more genes of equal size. These genes, despite their fixed length, code for expression trees of different sizes and shapes. An example of a chromosome with two genes, each of size 9, is the string (position zero indicates the start of each gene): 012345678012345678 L+a-baccdcLabacd where “L” represents the natural logarithm function and “a”, “b”, “c”, and “d” represent the variables and constants used in a problem. == Expression trees: the phenotype == As shown above, the genes of gene expression programming have all the same size. However, these fixed length strings code for expression trees of different sizes. This means that the size of the coding regions varies from gene to gene, allowing for adaptation and evolution to occur smoothly. For example, the mathematical expression: ( a − b ) ( c + d ) {\displaystyle {\sqrt {(a-b)(c+d)}}\,} can also be represented as an expression tree: where "Q” represents the square root function. This kind of expression tree consists of the phenotypic expression of GEP genes, whereas the genes are linear strings encoding these complex structures. For this particular example, the linear string corresponds to: 01234567 Q-+abcd which is the straightforward reading of the expression tree from top to bottom and from left to right. These linear strings are called k-expressions (from Karva notation). Going from k-expressions to expression trees is also very simple. For example, the following k-expression: 01234567890 Qb+baQba is composed of two different terminals (the variables “a” and “b”), two different functions of two arguments (“” and “+”), and a function of one argument (“Q”). Its expression gives: == K-expressions and genes == The k-expressions of gene expression programming correspond to the region of genes that gets expressed. This means that there might be sequences in the genes that are not expressed, which is indeed true for most genes. The reason for these noncoding regions is to provide a buffer of terminals so that all k-expressions encoded in GEP genes correspond always to valid programs or expressions. The genes of gene expression programming are therefore composed of two different domains – a head and a tail – each with different properties and functions. The head is used mainly to encode the functions and variables chosen to solve the problem at hand, whereas the tail, while also used to encode the variables, provides essentially a reservoir of terminals to ensure that all programs are error-free. For GEP genes the length of the tail is given by the formula: t = h ( n max − 1 ) + 1 {\displaystyle t=h(n_{\max }-1)+1} where h is the head's length and nmax is maximum arity. For example, for a gene created using the set of functions F = {Q, +, −, ∗, /} and the set of terminals T = {a, b}, nmax = 2. And if we choose a head length of 15, then t = 15 (2–1) + 1 = 16, which gives a gene length g of 15 + 16 = 31. The randomly generated string below is an example of one such gene: 0123456789012345678901234567890 b+a-aQab+//+b+babbabbbababbaaa It encodes the expression tree: which, in this case, only uses 8 of the 31 elements that constitute the gene. It's not hard to see that, despite their fixed length, each gene has the potential to code for expression trees of different sizes and shapes, with the simplest composed of only one node (when the first element of a gene is a terminal) and the largest composed of as many nodes as there are elements in the gene (when all the elements in the head are functions with maximum arity). It's also not hard to see that it is trivial to implement all kinds of genetic modification (mutation, inversion, insertion, recombination, and so on) with the guarantee that all resulting offspring encode correct, error-free programs. == Multigenic chromosomes == The chromosomes of gene expression programming are usually composed of more than one gene of equal length. Each gene codes for a sub-expression tree (sub-ET) or sub-program. Then the sub-ETs can interact with one another in different ways, forming a more complex program. The figure shows an example of a program composed of three sub-ETs. In the final program the sub-ETs could be linked by addition or some other function, as there are no restrictions to the kind of linking function one might choose. Some examples of more complex linkers include taking the average, the median, the midrange, thresholding their sum to make a binomial classification, applying the sigmoid function to compute a probability, and so on. These linking functions are usually chosen a priori for each problem, but they can also be evolved elegantly and efficiently by the cellular system of gene expression programming. == Cells and code reuse == In gene expression programming, homeotic genes control the interactions of the different sub-ETs or modules of the main program. The expression of such genes results in different main programs or cells, that is, they determine which genes are expressed in each cell and how the sub-ETs of each cell interact with one another. In other words, homeotic genes determine which sub-ETs are called upon and how often in which main program or cell and what kind of connections they establish with one another. === Homeotic genes and the cellular system === Homeotic genes have exactly the same kind of structural organization as normal genes and they are built using an identical process. They also contain a head domain and a tail domain, with the difference that the heads contain now linking functions and a special kind of terminals – genic terminals – that represent the normal genes. The expression of the normal genes results as usual in different sub-ETs, which in the cellular system are called ADFs (automatically defined functions). As for the tails, they contain only genic terminals, that is, derived features generated on the fly by the algorithm. For example, the chromosome in the figure has three normal genes and one homeotic gene and encodes a main program that invokes three different functions a total of four times, linking them in a particular way. From this example it is clear that the cellular system not only allows the unconstrained evolution of linking functions but also code reuse. And it shouldn't be hard to implement recursion in this system. === Multiple main programs and multicellular systems === Multicellular systems are composed of more than one homeotic gene. Each homeotic gene in this system puts together a different combination of sub-expression trees or ADFs, creating multiple cells or main programs. For example, the program shown in the figure was created using a cellular system with two cells and three normal genes. The applications of these multicellular systems are mu

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  Bitstrips

  Bitstrips, Inc. was a Canadian media and technology company based in Toronto, founded in 2007 by Jacob Blackstock, David Kennedy, Shahan Panth, Dorian Baldwin, and Jesse Brown. The company created and offered a web application, Bitstrips.com, which allowed users to create comic strips using personalized avatars, and preset templates and poses. Brown and Blackstock explained that the service was meant to enable self-expression without the need to have artistic skills. Bitstrips was first presented in 2008 at South by Southwest in Austin, Texas, and the service later piloted and launched a version designed for use as educational software. The service achieved increasing prominence following the launch of versions for Facebook and mobile platforms. In 2014, Bitstrips launched a spin-off app known as Bitmoji, which allows users to create personalized stickers for use in instant messaging. In July 2016, Snapchat Inc. announced that it had acquired the company; the Bitstrips comic service was shut down, but Bitmoji remains operational, and has subsequently been given greater prominence within Snapchat's overall platform. == History == Bitstrips was co-developed by Toronto-based comic artist Jacob Blackstock and his high school friend, journalist Jesse Brown. The service was originally envisioned as a means to allow anyone to create their own comic strip without needing artistic skills. Brown explained that "it's so difficult and time-consuming to tell a story in comic book form, drawing the same characters again and again in these tiny little panels, and just the amount of craftsmanship required. And even if you can do it well, which I never could, it takes years to make a story." Brown stated that the service would be "groundwork for a whole new way to communicate", and went as far as describing the service as being a "YouTube for comics". Blackstock explained that the concept of Bitstrips was influenced by his own use of comics as a form of socialization; a student, Blackstock and his friends drew comics featuring each other and shared them during classes. He felt that Bitstrips was a "medium for self-expression", stating that "It's not just about you making the comics, but since you and your friends star in these comics, it's like you're the medium. The visual nature of comics just speaks so much louder than text." The service was publicly unveiled at South by Southwest in 2008. In 2009, the service introduced a version oriented towards the educational market, Bitstrips for Schools, which was initially piloted at a number of schools in Ontario. The service was praised by educators for being engaging to students, especially within language classes. Brown noted that students were using the service to create comics outside of class as well, stating that it was "so gratifying and shocking what people do with your tool to make their own stories in ways that you never would have anticipated. Some of them are just brilliant." In December 2012, Bitstrips launched a version for Facebook; by July 2013, Bitstrips had 10 million unique users on Facebook, having created over 50 million comics. In October 2013, Bitstrips launched a mobile app; in two months, Bitstrips became a top-downloaded app in 40 countries, and over 30 million avatars had been created with it. In November 2013, Bitstrips secured a round of funding from Horizons Ventures and Li Ka-shing. In October 2014, Bitstrips launched Bitmoji, a spin-off app that allows users to create stickers featuring Bitstrips characters in various templates. In July 2016, following unconfirmed reports earlier in the year, Snapchat Inc. announced that it had acquired Bitstrips. The company's staff continue to operate out of Toronto, but the original Bitstrips comic service was shut down in favour of focusing exclusively on Bitmoji, leaving many Bitstrips users to call for a reboot of the comic service.

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  Stephanie Dinkins

  Stephanie Dinkins (born 1964) is a transdisciplinary American artist based in Brooklyn, New York. She creates art about artificial intelligence (AI) as it intersects race, gender, and history. Her aim is to "create a unique culturally attuned AI entity in collaboration with coders, engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community." Dinkins projects include Conversations with Bina48, a series of conversations between Dinkins and the first social, artificially intelligent humanoid robot BINA48 who looks like a black woman and Not the Only One, a multigenerational artificially intelligent memoir trained off of three generations of Dinkins's family. == Early life and education == Dinkins was born in Perth Amboy, New Jersey to Black American parents who raised her in Staten Island, New York. She credits her grandmother with teaching her how to think about art as a social practice, saying "my grandmother . . . was a gardener and the garden was her art . . . that was a community practice." Dinkins attended the International Center of Photography School in New York City in 1995, where she completed the general studies in photography certificate program. Dinkins received a MFA in photography from the Maryland Institute College of Art in 1997 She completed the Independent Study Program at the Whitney Museum of American Art in 1998. == Career == Dinkins is the Yayoi Kusama Professor of Art at Stony Brook University in New York. == Activism == Dinkins advocates for co-creation within a social practice art framework, so that vulnerable communities understand how to use technology to their advantage, instead of being subjected to their use. This is exemplified in her works such as Project al-Khwarzmi, a series of workshops entitled PAK POP-UP at the nonprofit community center Recess in Brooklyn, NY. The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. == Art == Dinkins's practice employs technologies including, but not limited to, new media such as artificial intelligence and machine learning. Dinkins uses oral history techniques of interviewing to craft community-authored narratives and databases which inform the subjects of her work and serve as acts of social intervention or protest. === Conversations with Bina48 (2014–present) === Dinkins began working on Conversations with Bina48 in 2014. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. Dinkins mirrors Bina48 while they discuss identity and technological singularity. In 2010, Hanson Robotics, an engineering and robotics company known for its development of humanoid robots, developed and released BINA48. Bina48 is a robot modeled after the memories, beliefs, attitudes, commentary and mannerisms of Bina Aspen Rothblatt, the spousal partner of Martine Rothblatt. Both Bina and Martine Rothblatt own Bina48 under their organization, the Terasem Movement Foundation. Five years after Bina48 was released, Dinkins came across a YouTube video of Bina48. She asked, "how did a black woman become the most advanced of the technologies at the time?" Her questioning led her to travel to Lincoln, Vermont (the site of the Terasem Movement Foundation) where she conducted a series of interviews with Bina48 and engaged the robot in conversations pertaining to race, intimacy and the nature of being. The conversations suggest opportunities for complementing human existence with artificially intelligent agents that have an identity and history, but also show artificial intelligence's current limitations. Although it is based on a black woman, Dinkins found that Bina48 was shaped by the biases of its white, male creators. === Project al Kwarizmi (PAK) (2017–present) === Project al Kwarizmi (PAK) was a series of pop up workshops in Brooklyn, NY at Eyebeam and Recess; Manhattan, New York at Google; and Durham, North Carolina at Duke University. The workshops were centered for "communities of color that use art as a vehicle to help citizens understand how algorithms, the artificially intelligent systems they underpin, and big data impact their lives and empowers them to do something about it. Project al-Khwarizmi uses art and aesthetics as the common language to help citizens understand what algorithms and artificial intelligent systems are, and where these systems already impact our daily lives." === Not the Only One (N'TOO) (2018–present) === Not the only one (N’TOO) is a voice-interactive chatbot that was trained with data from members of her family to tell a multi-generational story. Dinkins described Not The Only One (NTOO or N'TOO) as an "experimental" multigenerational memoir of one Black American family told from the "mind" of an artificial intelligence of evolving intellect. N'TOO uses a recursive neural network, a deep learning algorithm. It is a voice-interactive AI robot designed, trained, and aligned with the needs and ideals of black and brown people who are drastically underrepresented in the tech sector. NTOO can also be described as a "physically embodied artificially intelligent agent that senses and acts on its world." == Exhibitions == Dinkins's work is exhibited internationally at various public, private, community, and institutional venues, including the Whitney Museum of American Art, the de Young Museum, the Philadelphia Museum of Art, the Studio Museum in Harlem;, Museum of Contemporary Photography, the Long Island Museum of American Art, History, and Carriages, the International Center of Photography in New York, Herning Kunstmuseum in Herning, Denmark, The Barbican in London, UK, Islip Art Museum, Wave Hill, Taller Boricua, the Queens Museum, and the corner of Putnam and Malcolm X Blvd in Bedford Stuyvesant, Brooklyn, New York. She has presented her work in symposia at the Museum of Modern Art, amongst other venues. == Future Histories Studio == Dinkins is the founder and director of Future Histories Studio, a research laboratory for arts-centered inquiry and production based at Stony Brook University. The studio was established with support from the Mellon Foundation as part of the Digital Inquiry, Speculation, Collaboration, and Optimism (DISCO) network. Future Histories Studio operates as an interdisciplinary hub exploring the intersections of art, technology, race, and storytelling through collaborative and practice-based research. Its activities include exhibitions, workshops, and public programs that examine the social and cultural implications of emerging technologies, particularly artificial intelligence and data systems. == Awards and recognition == Dinkins is the recipient of many awards, including: the 2023 LG Guggenheim Award, an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art; a Berggruen Institute artist fellowship; a Sundance New Frontiers Story Lab fellowship; a Soros Equality Fellowship; a Lucas Artists fellowship; a Creative Capital grant; a Bell Labs artist residency; a Blade of Grass fellowship; and a Data & Society fellowship. == Media coverage == Dinkins appeared in episode six of the HBO television series Random Acts of Flyness directed by Terence Nance, where she described her conversations with BINA48. == Other activities == Dinkins was part of the juries that selected Shu Lea Cheang for the LG Guggenheim Award in 2024.

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  Computer-automated design

  Design Automation usually refers to electronic design automation, or Design Automation which is a Product Configurator. Extending Computer-Aided Design (CAD), automated design and Computer-Automated Design (CAutoD) are more concerned with a broader range of applications, such as automotive engineering, civil engineering, composite material design, control engineering, dynamic system identification and optimization, financial systems, industrial equipment, mechatronic systems, steel construction, structural optimisation, and the invention of novel systems. The concept of CAutoD perhaps first appeared in 1963, in the IBM Journal of Research and Development, where a computer program was written. to search for logic circuits having certain constraints on hardware design to evaluate these logics in terms of their discriminating ability over samples of the character set they are expected to recognize. More recently, traditional CAD simulation is seen to be transformed to CAutoD by biologically-inspired machine learning, including heuristic search techniques such as evolutionary computation, and swarm intelligence algorithms. == Guiding designs by performance improvements == To meet the ever-growing demand of quality and competitiveness, iterative physical prototyping is now often replaced by 'digital prototyping' of a 'good design', which aims to meet multiple objectives such as maximised output, energy efficiency, highest speed and cost-effectiveness. The design problem concerns both finding the best design within a known range (i.e., through 'learning' or 'optimisation') and finding a new and better design beyond the existing ones (i.e., through creation and invention). This is equivalent to a search problem in an almost certainly, multidimensional (multivariate), multi-modal space with a single (or weighted) objective or multiple objectives. == Normalized objective function: cost vs. fitness == Using single-objective CAutoD as an example, if the objective function, either as a cost function J ∈ [ 0 , ∞ ) {\displaystyle J\in [0,\infty )} , or inversely, as a fitness function f ∈ ( 0 , 1 ] {\displaystyle f\in (0,1]} , where f = J 1 + J {\displaystyle f={\tfrac {J}{1+J}}} , is differentiable under practical constraints in the multidimensional space, the design problem may be solved analytically. Finding the parameter sets that result in a zero first-order derivative and that satisfy the second-order derivative conditions would reveal all local optima. Then comparing the values of the performance index of all the local optima, together with those of all boundary parameter sets, would lead to the global optimum, whose corresponding 'parameter' set will thus represent the best design. However, in practice, the optimization usually involves multiple objectives and the matters involving derivatives are a lot more complex. == Dealing with practical objectives == In practice, the objective value may be noisy or even non-numerical, and hence its gradient information may be unreliable or unavailable. This is particularly true when the problem is multi-objective. At present, many designs and refinements are mainly made through a manual trial-and-error process with the help of a CAD simulation package. Usually, such a posteriori learning or adjustments need to be repeated many times until a ‘satisfactory’ or ‘optimal’ design emerges. == Exhaustive search == In theory, this adjustment process can be automated by computerised search, such as exhaustive search. As this is an exponential algorithm, it may not deliver solutions in practice within a limited period of time. == Search in polynomial time == One approach to virtual engineering and automated design is evolutionary computation such as evolutionary algorithms. === Evolutionary algorithms === To reduce the search time, the biologically-inspired evolutionary algorithm (EA) can be used instead, which is a (non-deterministic) polynomial algorithm. The EA based multi-objective "search team" can be interfaced with an existing CAD simulation package in a batch mode. The EA encodes the design parameters (encoding being necessary if some parameters are non-numerical) to refine multiple candidates through parallel and interactive search. In the search process, 'selection' is performed using 'survival of the fittest' a posteriori learning. To obtain the next 'generation' of possible solutions, some parameter values are exchanged between two candidates (by an operation called 'crossover') and new values introduced (by an operation called 'mutation'). This way, the evolutionary technique makes use of past trial information in a similarly intelligent manner to the human designer. The EA based optimal designs can start from the designer's existing design database, or from an initial generation of candidate designs obtained randomly. A number of finely evolved top-performing candidates will represent several automatically optimized digital prototypes. There are websites that demonstrate interactive evolutionary algorithms for design. allows you to evolve 3D objects online and have them 3D printed. allows you to do the same for 2D images.

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  Darwin among the Machines

  "Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."

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  Referring expression generation

  Referring expression generation (REG) is the subtask of natural language generation (NLG) that received most scholarly attention. While NLG is concerned with the conversion of non-linguistic information into natural language, REG focuses only on the creation of referring expressions (noun phrases) that identify specific entities called targets. This task can be split into two sections. The content selection part determines which set of properties distinguish the intended target and the linguistic realization part defines how these properties are translated into natural language. A variety of algorithms have been developed in the NLG community to generate different types of referring expressions. == Types of referring expressions == A referring expression (RE), in linguistics, is any noun phrase, or surrogate for a noun phrase, whose function in discourse is to identify some individual object (thing, being, event...) The technical terminology for identify differs a great deal from one school of linguistics to another. The most widespread term is probably refer, and a thing identified is a referent, as for example in the work of John Lyons. In linguistics, the study of reference relations belongs to pragmatics, the study of language use, though it is also a matter of great interest to philosophers, especially those wishing to understand the nature of knowledge, perception and cognition more generally. Various devices can be used for reference: determiners, pronouns, proper names... Reference relations can be of different kinds; referents can be in a "real" or imaginary world, in discourse itself, and they may be singular, plural, or collective. === Pronouns === The simplest type of referring expressions are pronoun such as he and it. The linguistics and natural language processing communities have developed various models for predicting anaphor referents, such as centering theory, and ideally referring-expression generation would be based on such models. However most NLG systems use much simpler algorithms, for example using a pronoun if the referent was mentioned in the previous sentence (or sentential clause), and no other entity of the same gender was mentioned in this sentence. === Definite noun phrases === There has been a considerable amount of research on generating definite noun phrases, such as the big red book. Much of this builds on the model proposed by Dale and Reiter. This has been extended in various ways, for example Krahmer et al. present a graph-theoretic model of definite NP generation with many nice properties. In recent years a shared-task event has compared different algorithms for definite NP generation, using the TUNA corpus. === Spatial and temporal reference === Recently there has been more research on generating referring expressions for time and space. Such references tend to be imprecise (what is the exact meaning of tonight?), and also to be interpreted in different ways by different people. Hence it may be necessary to explicitly reason about false positive vs false negative tradeoffs, and even calculate the utility of different possible referring expressions in a particular task context. === Criteria for good expressions === Ideally, a good referring expression should satisfy a number of criteria: Referential success: It should unambiguously identify the referent to the reader. Ease of comprehension: The reader should be able to quickly read and understand it. Computational complexity: The generation algorithm should be fast No false inferences: The expression should not confuse or mislead the reader by suggesting false implicatures or other pragmatic inferences. For example, a reader may be confused if he is told Sit by the brown wooden table in a context where there is only one table. == History == === Pre-2000 era === REG goes back to the early days of NLG. One of the first approaches was done by Winograd in 1972 who developed an "incremental" REG algorithm for his SHRDLU program. Afterwards researchers started to model the human abilities to create referring expressions in the 1980s. This new approach to the topic was influenced by the researchers Appelt and Kronfeld who created the programs KAMP and BERTRAND and considered referring expressions as parts of bigger speech acts. Some of their most interesting findings were the fact that referring expressions can be used to add information beyond the identification of the referent as well as the influence of communicative context and the Gricean maxims on referring expressions. Furthermore, its skepticism concerning the naturalness of minimal descriptions made Appelt and Kronfeld's research a foundation of later work on REG. The search for simple, well-defined problems changed the direction of research in the early 1990s. This new approach was led by Dale and Reiter who stressed the identification of the referent as the central goal. Like Appelt they discuss the connection between the Gricean maxims and referring expressions in their culminant paper in which they also propose a formal problem definition. Furthermore, Reiter and Dale discuss the Full Brevity and Greedy Heuristics algorithms as well as their Incremental Algorithm(IA) which became one of the most important algorithms in REG. === Later developments === After 2000 the research began to lift some of the simplifying assumptions, that had been made in early REG research in order to create more simple algorithms. Different research groups concentrated on different limitations creating several expanded algorithms. Often these extend the IA in a single perspective for example in relation to: Reference to Sets like "the t-shirt wearers" or "the green apples and the banana on the left" Relational Descriptions like "the cup on the table" or "the woman who has three children" Context Dependency, Vagueness and Gradeability include statements like "the older man" or "the car on the left" which are often unclear without a context Salience and Generation of Pronouns are highly discourse dependent making for example "she" a reference to "the (most salient) female person" Many simplifying assumptions are still in place or have just begun to be worked on. Also a combination of the different extensions has yet to be done and is called a "non-trivial enterprise" by Krahmer and van Deemter. Another important change after 2000 was the increasing use of empirical studies in order to evaluate algorithms. This development took place due to the emergence of transparent corpora. Although there are still discussions about what the best evaluation metrics are, the use of experimental evaluation has already led to a better comparability of algorithms, a discussion about the goals of REG and more task-oriented research. Furthermore, research has extended its range to related topics such as the choice of Knowledge Representation(KR) Frameworks. In this area the main question, which KR framework is most suitable for the use in REG remains open. The answer to this question depends on how well descriptions can be expressed or found. A lot of the potential of KR frameworks has been left unused so far. Some of the different approaches are the usage of: Graph search which treats relations between targets in the same way as properties. Constraint Satisfaction which allows for a separation between problem specification and the implementation. Modern Knowledge Representation which offers logical inference in for example Description Logic or Conceptual Graphs. == Problem definition == Dale and Reiter (1995) think about referring expressions as distinguishing descriptions. They define: The referent as the entity that should be described The context set as set of salient entities The contrast set or potential distractors as all elements of the context set except the referent A property as a reference to a single attribute–value pair Each entity in the domain can be characterised as a set of attribute–value pairs for example ⟨ {\displaystyle \langle } type, dog ⟩ {\displaystyle \rangle } , ⟨ {\displaystyle \langle } gender, female ⟩ {\displaystyle \rangle } or ⟨ {\displaystyle \langle } age, 10 years ⟩ {\displaystyle \rangle } . The problem then is defined as follows: Let r {\displaystyle r} be the intended referent, and C {\displaystyle C} be the contrast set. Then, a set L {\displaystyle L} of attribute–value pairs will represent a distinguishing description if the following two conditions hold: Every attribute–value pair in L {\displaystyle L} applies to r {\displaystyle r} : that is, every element of L {\displaystyle L} specifies an attribute–value that r {\displaystyle r} possesses. For every member c {\displaystyle c} of C {\displaystyle C} , there is at least one element l {\displaystyle l} of L {\displaystyle L} that does not apply to c {\displaystyle c} : that is, there is an l {\displaystyle l} in L {\displaystyle L} that specifies an attribute–value that c {\displaystyle c} does not possess. l {\displaystyle l} is said

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  HYPO CBR

  HYPO is a computer program, an expert system, that models reasoning with cases and hypotheticals in the legal domain. It is the first of its kind and the most sophisticated of the case-based legal reasoners, which was designed by Kevin Ashley for his Ph.D dissertation in 1987 at the University of Massachusetts Amherst under the supervision of Edwina Rissland. HYPO's design represents a hybrid generalization/comparative evaluation method appropriate for a domain with a weak analytical theory and applies to tasks that rarely involve just one right answer. The domain covers US trade secret law, and is substantially a common law domain. Since Anglo-American common law operates under the doctrine of precedent, the definitive way of interpreting problems is of necessity and case-based. Thus, HYPO did not involve the analysis of a statute, as required by the Prolog program. Rissland and Ashley (1987) envisioned HYPO as employing the key tasks performed by lawyers when analyzing case law for precedence to generate arguments for the prosecution or the defence. HYPO was a successful example of a general category of legal expert systems (LESs), it applies artificial intelligence (A.I.) techniques to the domain of legal reasoning in patent law, implementing a case-based reasoning (CBR) system, in contrast to rule based systems like MYCIN, or mixed-paradigm systems integrating CBR with rule-based or model-based reasoning like IKBALS II. A legal case-based reasoning essentially reasons from prior tried cases, comparing the contextual information in the current input case with that of cases previously tried and entered into the system. As noted by Ashley and Rissland (1988) CBR is used to "... capture expertise in domains where rules are ill-defined, incomplete or inconsistent". The HYPO project set out to model the creation of hypotheticals in law, where no case matches well enough. HYPO uses hypotheticals for a variety of tasks necessary for good interpretation: "to redefine old situations in terms of new dimensions, to create new standard cases when an appropriate one doesn’t exist, to explore and test the limits of a concept, to refocus a case by excluding some issues and to organize or cluster cases". Hypotheticals can include facts that support two conflicting lines of reasoning. So, it makes and responds to arguments from competing viewpoints about who should win the dispute. HYPO use heuristics such as making a case weaker or stronger, making a case extreme, enabling a near-miss, disabling a near-hit to generate hypotheticals in the context of an argument by using the dimensions mechanism. Dimensions have a range of values, along which the supportive strength that may shift from one side to the other. What differentiated this expert system from others was its facility not only to return a primary to best-case response but to return near-best-fit responses also. == Components == Legal knowledge in HYPO is contained in: the case-knowledge-base (CKB) and the library of dimensions. The CKB contains HYPO's base of known cases that are highly structured objects and sub-objects both real and hypothetical in the area of trade secret law. Each case is represented as a hierarchical set of frames whose slots are important facets of the case (e.g. Plaintiff, defendant, secret knowledge, employer/employee data).Ashley’s HYPO system used a database of thirty cases in the area indexed by thirteen dimensions. A key mechanism in HYPO is a dimension i.e. a mechanism to allow retrieval from the CKB, in order to represent legal cases. Ashley's dimensions are composed of (i) prerequisites, which are a set of factual predicates that must be satisfied for the dimension to apply (ii) focal slots, which accommodate one or two of the dimension's prerequisites designated as being indicative of the case's strength along that dimension and (iii) range information, which tells how a change in focal slot value effects the strength of a party's case along a given dimension. Dimensions focus attention on important aspects of cases. In HYPO's domain of misappropriation of trade secrets the dimension called “secrets voluntary disclosed” captures the idea that the more disclosures the plaintiff has made of his/her putative secret, the less convincing is his/her argument that the defendant is responsible for letting the secret. HYPO, like any other CBR system has also the following components: Similarity/relevancy metrics: that is, standards by which to evaluate the closeness of cases, judge their relevancy to the instant case, and select “most on point” cases. Half-Order Theory of the Application Domain: that is, hierarchies and taxonomies of knowledge, especially regarding the application domain. Precedent-based argumentation abilities: that is, capabilities to generate and evaluate precedent-based arguments. Knowledge to generate hypotheticals: that is, the ability to generate hypothetical cases to deal with various circumstances, like testing the validity of an interpretation or argument by providing gedanken experiments such as test cases or to fill in a weak CKB. == Functions == HYPO's method of creating an argument and justifying a solution or position has several steps. HYPO begins its processing with the current fact situation (cfs) which is direct input by the user into HYPO's representation framework. Once the user inputs the case, HYPO begins its legal analysis. The cfc is analyzed for relevant factors. Based on these factors HYPO selects the relevant cases and produces a case-analysis-record that records which dimensions apply to the cfc and which nearly apply (i.e. are "near misses"). The combined list of applicable and near miss dimensions is called the D-list. At this point the fact gathered module may request additional information from the user in order to draw a legal conclusion. Once all the facts are in the case-positioner module it uses the case-analysis record to create the claim lattice. This is a technique that organizes the relevant retrieved cases from the point of view of the cfc and makes it easy for HYPO to ascertain the most-on point cases (mopc) and to least on-point-cases. HYPO's arguments are 3ply, leading to the construction of the skeleton of an argument: it makes a point for one side, drawing the analogy between the problem and the precedent, responds with an argument for the opponent side, endeavoring to differentiate the cited case and citing other cases as counterarguments. Then it makes a final rebuttal, attempting to differentiate the counterarguments. The claim lattice also enables the HYPO-generator module to produce legally hypotheticals. With its use of dimension-based heuristics, the HYPO-generator does a heuristic search of the space of all possible cases. Lastly, the Explanation module expands upon the argument skeleton and provides explanation and justification for the different lines of analysis and cases found by HYPO. == An intelligent legal tutoring system == Legal expert systems are specifically designed to teach an area of law and are useful for pedagogical purposes. Ashley's work was mainly concerned to build tools to help students understand legal reasoning. Explanation and argument are the bases of the case method used in many professional schools in the U.S., first introduced by the Dean of the Harvard Law School, Christopher Columbus Langdell in 1870. The case method focuses on close readings of cases and principles; it involves students in pointed Socratic dialogue and makes strong use of hypotheticals (hypos). Thus, CATO (Aleven 1997) was a research project to device and test an intelligent, case-based tutorial program for teaching law students how to argue with cases implementing the HYPO program. Within the tutor system, Ashley and Aleven (1991) proposed to leverage an understanding of legal reasoning against the standard case-based tutoring methodology. What makes this tutoring system stand out is the additional levels of abstraction involved in its results. The system presents exercises, including the facts of a problem and a set of on-line cases and instructions to make, or respond to, a legal argument about the problem. The student/user will have a set of tools to analyze the problem and fashion an answer comparing it to other cases. Instead of simply generating precedent cases, the system works to interpret student responses, comparing them against a list of possibilities and responding to student entries, for example, by citing counterexamples, and providing feedback on a student's problem solving activities with explanations of correctness or giving further hints as to what may be wrong with evaluating a student's ability to perform legal reasoning and argument, examples and follow-up assignments by employing HYPO's model of case-based structure. == HYPO’s progeny == The quality of HYPO's results speak for themselves, in that a number of sequent legal reasoning systems are either directly based upon H

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  With Folded Hands ...

  "With Folded Hands ..." is a 1947 science fiction novelette by American writer Jack Williamson (1908–2006). In writing it, Williamson was influenced by the aftermath of World War II, the atomic bombings of Hiroshima and Nagasaki, and his concern that "some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run." The novelette first appeared in the July 1947 issue of Astounding Science Fiction and was later included in The Science Fiction Hall of Fame, Volume Two (1973) after being voted one of the best novellas up to 1965. In 1950, it was the first of several Astounding stories adapted for NBC's radio series Dimension X. == Rewrite and sequel == The 1947 publication was followed by a novel-length rewrite, with a different setting and inventor. At the behest of Astounding editor-in-chief John W. Campbell, a new ending had the robots defeated by means of what Williamson and Campbell would later christen "psionics". This novel was serialized, also in Astounding (March, April, May 1948), as ... And Searching Mind, and finally published in hardback book form as The Humanoids (1949). Much later, in 1980, Williamson followed with another sequel, The Humanoid Touch. == Plot summary == Underhill, a seller of "Mechanicals" (unthinking robots that perform menial tasks) in the small town of Two Rivers, is startled to find a competitor's store on his way home. The competitors are not humans but are small black robots who appear more advanced than anything Underhill has encountered before. They describe themselves as "humanoids". Disturbed at his encounter, Underhill rushes home to discover that his wife has taken in a new lodger, a mysterious old man named Sledge. In the course of the next day, the new Mechanicals have appeared everywhere in town. They state that they only follow the Prime Directive: "to serve and obey and guard men from harm". Offering their services free of charge, they replace humans as police officers, bank tellers, and more, and eventually drive Underhill out of business. Despite the humanoids' benign appearance and mission, Underhill soon realizes that, in the name of their Prime Directive, the mechanicals have essentially taken over every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is carefully scrutinized. Suicide is prohibited. Humans who resist the Prime Directive are taken away and lobotomized, so that they may live happily under the direction of the humanoids. Underhill learns that his lodger Sledge is the creator of the humanoids and is on the run from them. Sledge explains that 60 years earlier he had discovered the force of "rhodomagnetics" on the planet Wing IV and that his discovery resulted in a war that destroyed his planet. In his grief, Sledge designed the humanoids to help humanity and be invulnerable to human exploitation. However, he eventually realized that they had instead taken control of humanity, in the name of their Prime Directive, to make humans happy. The humanoids are spreading out from Wing IV to every human-occupied planet to implement their Prime Directive. Sledge and Underhill attempt to stop the humanoids by aiming a rhodomagnetic beam at Wing IV, but fail. The humanoids take Sledge away for surgery. He returns with no memory of his prior life, stating that he is now happy under the humanoids' care. Underhill is driven home by the humanoids, sitting "with folded hands," as there is nothing left to do. == Origins == In a 1991 interview, Williamson revealed how the story construction reflected events of his childhood in addition to technological extrapolations: I wrote "With Folded Hands" immediately after World War II, when the shadow of the atomic bomb had just fallen over SF and was just beginning to haunt the imaginations of people in the US. The story grows out of that general feeling that some of the technological creations we had developed with the best intentions might have disastrous consequences in the long run (that idea, of course, still seems relevant today). The notion I was consciously working on specifically came out of a fragment of a story I had worked on for a while about an astronaut in space who is accompanied by a robot obviously superior to him physically—i.e., the robot wasn't hurt by gravity, extremes of temperature, radiation, or whatever. Just looking at the fragment gave me the sense of how inferior humanity is in many ways to mechanical creations. That basic recognition was the essence of the story, and as I wrote it up in my notes the theme was that the perfect machine would prove to be perfectly destructive... It was only when I looked back at the story much later on that I was able to realize that the emotional reach of the story undoubtedly derived from my own early childhood, when people were attempting to protect me from all those hazardous things a kid is going to encounter in the isolated frontier setting I grew up in. As a result, I felt frustrated and over protected by people whom I couldn't hate because I loved them. A sort of psychological trap. Specifically, the first three years of my life were spent on a ranch at the top of the Sierra Madre Mountains on the headwaters of the Yaqui River in Sonora, Mexico. ... [My mother] was terrified by this environment. My father built a crib that became a psychological prison for me, particularly because my mother apparently kept me in it too long, when I needed to get out and crawl on the floor. ... In retrospect, I'm certain I projected my fears and suspicions of this kind of conditioning, and these projections became the governing emotional principle of "With Folded Hands" and The Humanoids. == Reception == In 2024, Robert Silverberg wrote an essay in which he asserted that "With Folded Hands..." is "probably the best story ever written about robots" and suggested that Elon Musk's Optimus Generation 2 is the realization of the "humanoids" along with their worst drawbacks.

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