AI Headshot Image

AI Headshot Image — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

• 

  Big data

  Big data primarily refers to data sets that are too large or complex to be dealt with by traditional data-processing software. Data with many entries (rows) offers greater statistical power, while data with higher complexity (more attributes or columns) may lead to a higher false discovery rate. Big data analysis challenges include capturing data, data storage, data analysis, search, sharing, transfer, visualization, querying, updating, information privacy, and data sources. Big data was originally associated with three key concepts: volume, variety, and velocity. The analysis of big data that have only volume, velocity, and variety can pose challenges in sampling. A fourth concept, veracity, which refers to the level of reliability of data, was thus added. Without sufficient investment in expertise to ensure big data veracity, the volume and variety of data can produce costs and risks that exceed an organization's capacity to create and capture value from big data. Current usage of the term big data tends to refer to the use of predictive analytics, user behavior analytics, or certain other advanced data analytics methods that extract value from big data, and seldom to a particular size of data set. "There is little doubt that the quantities of data now available are indeed large, but that's not the most relevant characteristic of this new data ecosystem." Analysis of data sets can find new correlations to "spot business trends, prevent diseases, combat crime and so on". Scientists, business executives, medical practitioners, advertising and governments alike regularly meet difficulties with large datasets in areas including Internet searches, fintech, healthcare analytics, geographic information systems, urban informatics, and business informatics. Scientists encounter limitations in e-Science work, including meteorology, genomics, connectomics, complex physics simulations, biology, and environmental research. The size and number of available data sets have grown rapidly as data is collected by devices such as mobile devices, cheap and numerous information-sensing Internet of things devices, aerial (remote sensing) equipment, software logs, cameras, microphones, radio-frequency identification (RFID) readers and wireless sensor networks. The world's technological per-capita capacity to store information has roughly doubled every 40 months since the 1980s; as of 2012, every day 2.5 exabytes (2.17×260 bytes) of data are generated. Based on an IDC report prediction, the global data volume was predicted to grow exponentially from 4.4 zettabytes to 44 zettabytes between 2013 and 2020. By 2025, IDC predicts there will be 163 zettabytes of data. According to IDC, global spending on big data and business analytics (BDA) solutions is estimated to reach $215.7 billion in 2021. Statista reported that the global big data market is forecasted to grow to $103 billion by 2027. In 2011 McKinsey & Company reported, if US healthcare were to use big data creatively and effectively to drive efficiency and quality, the sector could create more than $300 billion in value every year. In the developed economies of Europe, government administrators could save more than €100 billion ($149 billion) in operational efficiency improvements alone by using big data. And users of services enabled by personal-location data could capture $600 billion in consumer surplus. One question for large enterprises is determining who should own big-data initiatives that affect the entire organization. Relational database management systems and desktop statistical software packages used to visualize data often have difficulty processing and analyzing big data. The processing and analysis of big data may require "massively parallel software running on tens, hundreds, or even thousands of servers". What qualifies as "big data" varies depending on the capabilities of those analyzing it and their tools. Furthermore, expanding capabilities make big data a moving target. "For some organizations, facing hundreds of gigabytes of data for the first time may trigger a need to reconsider data management options. For others, it may take tens or hundreds of terabytes before data size becomes a significant consideration." == Definition == The term big data has been in use since the 1990s, with some giving credit to John Mashey for popularizing the term. Big data usually includes data sets with sizes beyond the ability of commonly used software tools to capture, curate, manage, and process data within a tolerable elapsed time. Big data philosophy encompasses unstructured, semi-structured and structured data; however, the main focus is on unstructured data. Big data "size" is a constantly moving target; as of 2012 ranging from a few dozen terabytes to many zettabytes of data. Big data requires a set of techniques and technologies with new forms of integration to reveal insights from datasets that are diverse, complex, and of a massive scale. Variability is often included as an additional quality of big data. A 2018 definition states "Big data is where parallel computing tools are needed to handle data", and notes, "This represents a distinct and clearly defined change in the computer science used, via parallel programming theories, and losses of some of the guarantees and capabilities made by Codd's relational model." In a comparative study of big datasets, Kitchin and McArdle found that none of the commonly considered characteristics of big data appear consistently across all of the analyzed cases. For this reason, other studies identified the redefinition of power dynamics in knowledge discovery as the defining trait. Instead of focusing on the intrinsic characteristics of big data, this alternative perspective pushes forward a relational understanding of the object claiming that what matters is the way in which data is collected, stored, made available and analyzed. === Big data vs. business intelligence === The growing maturity of the concept more starkly delineates the difference between "big data" and "business intelligence": Business intelligence uses applied mathematics tools and descriptive statistics with data with high information density to measure things, detect trends, etc. Big data uses mathematical analysis, optimization, inductive statistics, and concepts from nonlinear system identification to infer laws (regressions, nonlinear relationships, and causal effects) from large sets of data with low information density to reveal relationships and dependencies, or to perform predictions of outcomes and behaviors. == Characteristics == Big data can be described by the following characteristics: Volume The quantity of generated and stored data. The size of the data determines the value and potential insight, and whether it can be considered big data or not. The size of big data is usually larger than terabytes and petabytes. Variety The type and nature of the data. Earlier technologies like RDBMSs were capable to handle structured data efficiently and effectively. However, the change in type and nature from structured to semi-structured or unstructured challenged the existing tools and technologies. Big data technologies evolved with the prime intention to capture, store, and process the semi-structured and unstructured (variety) data generated with high speed (velocity), and huge in size (volume). Later, these tools and technologies were explored and used for handling structured data also but preferable for storage. Eventually, the processing of structured data was still kept as optional, either using big data or traditional RDBMSs. This helps in analyzing data towards effective usage of the hidden insights exposed from the data collected via social media, log files, sensors, etc. Big data draws from text, images, audio, video; plus it completes missing pieces through data fusion. Velocity The speed at which the data is generated and processed to meet the demands and challenges that lie in the path of growth and development. Big data is often available in real-time. Compared to small data, big data is produced more continually. Two kinds of velocity related to big data are the frequency of generation and the frequency of handling, recording, and publishing. Veracity The truthfulness or reliability of the data, which refers to the data quality and the data value. Big data must not only be large in size, but also must be reliable in order to achieve value in the analysis of it. The data quality of captured data can vary greatly, affecting an accurate analysis. Value The worth in information that can be achieved by the processing and analysis of large datasets. Value also can be measured by an assessment of the other qualities of big data. Value may also represent the profitability of information that is retrieved from the analysis of big data. Variability The characteristic of the changing formats, structure, or sources of big data. Big data can include structured, unstructured,

  Read more →
• 

  Hundred (novel series)

  Hundred (ハンドレッド, Handoreddo) is a Japanese light novel series written by Jun Misaki and illustrated by Nekosuke Ōkuma. SB Creative published 16 novels between November 15, 2012, and October 15, 2018, under their GA Bunko imprint. A manga adaptation with art by Sasayuki was serialized in Fujimi Shobo's Monthly Dragon Age magazine. An anime television series adaptation, produced by Production IMS and directed by Tomoki Kobayashi, aired from April to June 2016. == Plot == "Hundreds" are a kind of weapon that get their name from their ability to change into many different forms, and are the only thing that can counter the mysterious life forms called Savage that are attacking Earth. Those who can wield a Hundred are sought out to be made into Slayers, trained individuals who can use them in combat. To become a Slayer, Hayato Kisaragi successfully enrolls in the marine academy city ship Little Garden. However he feels a strange yet familiar sense of incongruity towards Emile Crossford, his roommate who somehow knows him from somewhere. On top of that, shortly after he enters the school, he ends up getting challenged to a duel by the "Queen" and the school's most powerful Slayer, Claire Harvey. == Characters == Hayato Kisaragi (如月 ハヤト, Kisaragi Hayato) Voiced by: Yoshiaki Hasegawa (Japanese); Ricco Fajardo (English) Hayato is the male protagonist of Hundred. Originally from Yamato, Hayato became a Slayer in order to obtain state-of-the-art medical treatment for his sister. His previous encounter with a Savage 10 years ago resulted in him becoming a Variant - one of a very small fraction of people (fewer than 10 in the world, according to Emile) who have survived exposure to the Savages and obtained a greatly increased affinity for Hundreds as a result. He has the highest known compatibility with a Hundred and his Hundred, the Flying Swallow, is a chevalier-type that takes the form of a sword and a shoulder guard. When he first met Emilia he didn't realize that she was really a girl, but upon discovering the truth, he agreed to keep her secret. He is shown to be slightly uncomfortable whenever Emilia was showing him affection and would always blush when around her or other women who show their romantic feelings toward him. Emilia Hermit (エミリア・ハーミット, Emiria Hāmitto) Voiced by: Rumi Ōkubo (Japanese); Mikaela Krantz (English) Emilia is the female protagonist of Hundred. She is a silver-haired girl from the Britannia Empire and Hayato's roommate. She initially poses as a boy under the name Emile Crossfode (エミール・クロスフォード, Emīru Kurosufōdo) with only a few people aware of her secret until she eventually reveals the truth about herself. She and Hayato were survivors from the second Savage attack 10 years earlier, which resulted in her and Hayato becoming Variants. Hayato only has vague recollections of the prior event and it isn't until their encounter with the Savages at Zwei Island that Hayato realizes her true identity. She is a citizen of the Gudenburg Empire by birth and eventually reveals that she is Emilia Gudenburg (エミリア・グーデンブルグ, Emiria Gūdenburugu), the Empire's third princess. Her Hundred is the Arms Shroud that is an innocence type able to change into any form of weapon, something no other Slayer's Hundred can do. Like Hayato, she too is a Variant. Ten years ago she and Hayato where fleeing from the Savages' onslaught when she was attacked by one and almost died. The attack left a potent amount of virus in her gaping wound. Hayato, in an attempt to save her life sucked some of the fluids out, causing him to become a Variant as well. A substantial amount was still left in her system. She is in love with Hayato and is known to be very affectionate towards him and does not care about the rumors circulating about their relationship since everyone assumes them to be gay. Eventually, her status as a princess and girl are revealed to her peers, who were shocked at her heritage and finally understand her feelings to Hayato. Claire Harvey (クレア・ハーヴェイ, Kurea Hāvei) Voiced by: M.A.O (Japanese); Caitlin Glass (English) The highest-ranked Slayer in Little Garden who is from the United States of Liberia, she is called the Queen. The newly-arrived Hayato is forced to duel her to prevent the expulsion of two students who arrived late to the entrance ceremony because they are looking for him at the airport when he arrived. During the duel Hayato accidentally gropes her and she goes all out and defeats him, but the duel is called a draw and the students are allowed to stay. After Hayato saves her from a Savage and, later, accidentally kisses her, she falls in love with him. Her Hundred is a Dragoon Type which utilizes multiple cannons or transforms into a large powerful rifle, in doing so it drains much of her energy. She is also one of the few people who are aware that Emilia is secretly a girl. Karen Kisaragi (如月 カレン, Kisaragi Karen) Voiced by: Kaya Okuno (Japanese); Dawn M. Bennett (English) Hayato's younger sister who is ill. Hayato became a Slayer in order to obtain first-class treatment for her. While staying in the hospital she is often seen playing tarot cards, where she has become sort of a clairvoyant. Unlike her brother, Hayato, she suspected that Emilia was really a girl the moment she met her, until she was later convinced otherwise. She later becomes good friends with popular idol Sakura. Sakura Kirishima (霧島 サクラ, Kirishima Sakura) Voiced by: Mayu Yoshioka (Japanese); Amber Lee Connors (English) She is a popular idol who falls in love with Hayato after seeing him defeat the Trenta Savage at Zwei Island. She originally met Hayato and Karen at a shelter in Gudenberg during the second Savage attack. She remembers Karen but wasn't able to get Hayato's name at the time. After that incident, she lives with her father whom she never meets. When she later falls ill from an unknown illness, her father sells her to the Warslran Research Facility, where subjects like her are injected with vaccines that are developed from the fluids recovered from defeated Savages. She is the only one of the test subjects to have survived and, like Hayato and Emilia, she is also a Variant and a Slayer. Liza Harvey (リザ・ハーヴェイ, Riza Hāvei) Voiced by: Nichika Ōmori (Japanese); Megan Shipman (English) Claire's younger sister. Liddy Steinberg (リディ・スタインバーグ, Ridi Sutainbāgu) Voiced by: Rika Kinugawa (Japanese); Alex Moore (English) Little Garden's student council Vice President who is in charge of enforcement, she is very loyal to Claire and can be very uptight when enforcing the school's rules and regulations. Her Hundred takes the form of a lance and a shield. Erica Candle (エリカ・キャンドル, Erika Kyandoru) Voiced by: Yui Makino (Japanese); Natalie Hoover (English) She is also student council Vice President, however, she is mostly in charge of strategic planning, she has a high admiration for Claire, and it is suggested that she has certain feelings for her. Her Hundred, the Everlasting, is an Arsene type, which takes the form of a massive chained yoyo that she uses for restraining. Unfortunately her Hundred is ineffective against much stronger Savages. She is also one of the few people who became aware of Emilia's secret. Fritz Granz (フリッツ・グランツ, Furittsu Gurantsu) Voiced by: Wataru Hatano (Japanese); Jason Liebrecht (English) Hayato's classmate and Latia's partner. His Hundred takes the form of a sniper rifle. He and Latia were childhood friends, he often pokes fun at her. He is curious about the relationship between Hayato and Emilie and often teases them about their relationship, including sometimes referring to them as a couple on occasion. Latia Saintemilion (レイティア・サンテミリオン, Reitia Santemirion) Voiced by: Yuka Ōtsubo (Japanese); Elizabeth Maxwell (English) She is classmates with Hayato and Emilia, she is also Fritz's partner. Her Hundred is a close quarter melee type. She is Fritz's childhood friend. Charlotte Dimandias (シャーロット・ディマンディウス, Shārotto Dimandiusu) Voiced by: Miyu Matsuki (1st drama CD), Yui Horie (2nd drama CD, anime); Sarah Wiedenheft (English) She is a child prodigy who serves as the Little Garden's only main technical expert and chief researcher on Hundreds. Her authority is equal to that of the student council, that she can go against them or question their decisions. She is best friends with Emilia, and she is one of the characters who knows her secret. Meimei (メイメイ, Meimei) Voiced by: Ayaka Imamura (Japanese); Jill Harris (English) Miharu Kashiwagi (柏木 ミハル, Kashiwagi Miharu) Voiced by: Yuna Yoshino (Japanese); Rachel Glass (English) Miharu is a nurse at the hospital where Karen is staying. She is known for her very sweet demeanor and large breasts. Chris Steinbelt (クリス・シュタインベルト, Kurisu Shutainberuto) Voiced by: Emiri Kato (Japanese); Howard Wang (English) Noa Sheldon (ノア・シェルダン, Noa Sherudan) Voiced by: Yurika Kubo (Japanese); Madeleine Morris (English) Xue-Mei Liu (劉雪梅, Ryū Shuemei) Voiced by: Eri Suzuki (Japanese); Apphia Yu (English) Alphonse Brustad (アルフォ

  Read more →
• 

  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.

  Read more →
• 

  The Way (novel series)

  The Way series is a trilogy of science fiction novels and one short story by American author Greg Bear published from 1985 to 1999. The first novel was Eon (1985), followed by a sequel, Eternity and a prequel, Legacy. It also includes The Way of All Ghosts, a short story that falls between Legacy and Eon. == Novels == === Eon === Eon chronicles the appearance and discovery of the Thistledown, and its subsequent effect on humanity. In the early 21st century, the United States and the USSR are on the verge of nuclear war. In that tense political climate, an asteroid appears out of near space after an unusual supernova and settles into an extremely elliptical orbit near Earth orbit. The two nations each try to claim this mysterious object, which appears to be a virtual duplicate of Juno. It is hollow and contains seven vast terraformed chambers. Two of the chambers contain cities long abandoned by human beings who seemed to come from Earth's future. The asteroid is called the Thistledown by its builders. A startling discovery is that it is bigger inside than outside. The seventh chamber appears to stretch into infinity. The human inhabitants of the Thistledown come from an alternate timeline, approximately 1000 years in the future. In their timeline, human civilization was nearly destroyed by the "Death", a calamitous World War involving nuclear weapons. The Death occurred at approximately the same time as the appearance of the Thistledown in the present time. Its presence threatens to cause the Death to occur on the current timeline as well. An expedition is sent down the seemingly infinite seventh chamber (The "Way", as it is known) where it encounters the descendants of humanity. The high technology of this civilization, known as the Hexamon, has control over genetic engineering, human augmentation, and matter itself. The Hexamon includes several alien species who have come to live with humanity's descendants. The Hexamon itself is at war with an alien race known as the Jarts from further down the corridor still. In 2007, CGSociety organised a "CG Challenge" based upon Eon === Eternity === Jarts, politics, and technology make up the second book in the series: Eternity. The Jart religion is based on the preservation of all data, which encompasses all life forms, past and present, and sending that data to the Jarts' future masters, their descendants. === Legacy === In the third book (a prequel, set in the time before Eon), Legacy, soldier Olmy ap Sennon is sent to spy on a group of dissidents who have used the spacetime tunnel of "the Way" (introduced in Eon) to colonize the alien world of Lamarckia, a planet with an ecosystem that learns from its changed environment in a way that resembles Lamarckian evolution. Its plants and animals turn out to actually be parts of continent-sized organisms. === "The Way of All Ghosts" === In the short story "The Way of All Ghosts" soldier Olmy ap Sennon is sent to close a lesion that formed out of a wayward gate into perfection. This story was published in 1999 in Far Horizons. == Fictional history of the Thistledown == Within the universe of The Way, the Thistledown is an asteroid starship built by hollowing out Juno and fitting it with mass-driver (rail gun) engines and thermonuclear drives. Inside the asteroid, seven giant "Chambers" are built, of which two host cities for the inhabitants, while others host machinery and recreation areas. The asteroid is prepared 500 years in the future, as told in Bear's novel Eon, and is engaged on a multi-generational journey to Epsilon Eridani, around which a habitable planet is known to circle. The journey is meant to take 60 years, as the ship can only maintain a velocity of 20% the speed of light. This limitation is removed after the technology of the Thistledown was improved to include inertial dampeners, allowing higher accelerations. Inhabiting the Thistledown are the best and brightest of Earth, who are quite diverse both culturally and politically. The Thistledown's society includes one transcendent genius, Konrad Korzenowski, whose preference for living in the Thistledown as compared with an outer universe, causes him to experiment with closed-geodesic space time in the Seventh Chamber, 20 years into the Thistledown's voyage. The results of his experiments are shattering in the extreme: He creates a unique pocket universe: The Way. == The Way == === Origin === The eponymous Way is an extension of the 7th Chamber, and was formed in the novels using the machinery of the 6th Chamber. This machinery is a selective inertial damper, developed by engineers within the Thistledown with twofold purpose—to permit the Thistledown to accelerate to the limit of its engines (up to 99% the speed of light) and to selectively dampen inertia within the vessel, e.g., water within waterways, high velocity train systems. The inertial dampening machinery within the 6th Chamber is anchored to the structure of the Thistledown, equally spaced around the chamber at the vertices of a regular heptagon. === Creation === At the creation, and rejoining of the Way to the Thistledown, the character Konrad Korzenowski and his engineers designed and 'built' the Way out of the in-folded geodesics of the inertial dampening field of the 6th Chamber machinery. This is described in the books by first considering the inertial dampening field: Within the Thistledown, the field envelops the asteroid, effectively isolating it from the Einsteinian Metrical Frame, permitting relative inertia to be ignored. The Thistledown was, at the time of activation, isolated from its continuum, but only selectively. Its matter and energy anchored it to its continuum and relative time, but its geometry and quantum entanglement had been strained by the inertial dampener, thus making it susceptible to superspace distortions, and therefore it could be affected by them negatively. Korzenowski, having been influenced by the earlier work of Vazquez on Earth, and in developing her work within the Thistledown, planned a radical extension of the inertial field of the 6th Chamber - effectively extending the field away to an infinite extent within the 7th Chamber. In order to do this effectively, he and his engineers modified a set of semi-sentient field calibration tools to build the first Clavicles. Unlike the field calibration tools from which they were descended, the Clavicles possessed the ability not only to manipulate the field, but extend it as an extension of the will of the operator. Already radical enough, Korzenowski and his team went further. By extending the field of the 6th Chamber from within the 7th Chamber of the Thistledown, they could then directly access what Vasquez had calculated within her own work—alternate world lines as non-gravity bent geodesics of superspace. Korzenowski thus 'felt' superspace within the 7th Chamber, selecting the infinite selection of possible alternate pocket universes accessible by the Clavicle to form, as a sheer act of will, the Way from his designs and his vision. The resulting structure was constructed, not of matter, but of previously in-folded superspace vectors now infinitely extended. (in the manner of Schwarzschild folded geometry, or of an asymptotic curve.) The Way was thus opened. The Way's geometry also gave rise to the Flaw - as superspace geometry of the field boundary was extended infinitely, so the folded geodesics of the field unfold in the geometric centre of the Way to form a singularity. This singularity, the Flaw, rests within the Way's plasma tube (which in turn is sustained by the Flaw). The Flaw 'produces' gravity by actively repulsing matter away from itself in an acceleration at the square of the distance away from itself. In addition, any object encircling the Flaw, and then exerting pressure against it, experiences this pressure as a translation force along the Flaw's length perpendicular to the direction of force. The motion thus induced is controllable by the angle at which an annular ring enclosure is pressed against the Flaw. The same spatial transform also can be used to turn tip turbines in order to generate electricity. The Flaw permits a violation of the First Law of Thermodynamics, therefore defining the Way as a perpetual motion machine of the First Order, making energy out of nothing. === Early history === The Way, as formed, was described by Bear as being in vacuum and did not consist of matter within its infinite length. Due to extremely slight ambiguity involved in its creation, the synchronicity between time within the Way, and within the Thistledown, was not exact. Thus, the Engineers spend two decades working to correct these faults using the Clavicles to manipulate the junction between Way and Thistledown. During this period, ambition led Korzenowksi to use the clavicle to open the first exploratory gate within the way, leading to the universe of the Jarts. Though the gate to Jart world was closed, the advanced Jarts neve

  Read more →
• 

  Software development process

  A software development process prescribes a process for developing software. It typically divides an overall effort into smaller steps or sub-processes that are intended to ensure high-quality results. The process may describe specific deliverables – artifacts to be created and completed. Although not strictly limited to it, software development process often refers to the high-level process that governs the development of a software system from its beginning to its end of life – known as a methodology, model or framework. The system development life cycle (SDLC) describes the typical phases that a development effort goes through from the beginning to the end of life for a system – including a software system. A methodology prescribes how engineers go about their work in order to move the system through its life cycle. A methodology is a classification of processes or a blueprint for a process that is devised for the SDLC. For example, many processes can be classified as a spiral model. Software process and software quality are closely interrelated; some unexpected facets and effects have been observed in practice. == Methodology == The SDLC drives the definition of a methodology in that a methodology must address the phases of the SDLC. Generally, a methodology is designed to result in a high-quality system that meets or exceeds expectations (requirements) and is delivered on time and within budget even though computer systems can be complex and integrate disparate components. Various methodologies have been devised, including waterfall, spiral, agile, rapid prototyping, incremental, and synchronize and stabilize. A major difference between methodologies is the degree to which the phases are sequential vs. iterative. Agile methodologies, such as XP and scrum, focus on lightweight processes that allow for rapid changes. Iterative methodologies, such as Rational Unified Process and dynamic systems development method, focus on stabilizing project scope and iteratively expanding or improving products. Sequential or big-design-up-front (BDUF) models, such as waterfall, focus on complete and correct planning to guide larger projects and limit risks to successful and predictable results. Anamorphic development is guided by project scope and adaptive iterations. In scrum, for example, one could say a single user story goes through all the phases of the SDLC within a two-week sprint. By contrast the waterfall methodology, where every business requirement is translated into feature/functional descriptions which are then all implemented typically over a period of months or longer. A project can include both a project life cycle (PLC) and an SDLC, which describe different activities. According to Taylor (2004), "the project life cycle encompasses all the activities of the project, while the systems development life cycle focuses on realizing the product requirements". === History === The term SDLC is often used as an abbreviated version of SDLC methodology. Further, some use SDLC and traditional SDLC to mean the waterfall methodology. According to Elliott (2004), SDLC "originated in the 1960s, to develop large scale functional business systems in an age of large scale business conglomerates. Information systems activities revolved around heavy data processing and number crunching routines". The structured systems analysis and design method (SSADM) was produced for the UK government Office of Government Commerce in the 1980s. Ever since, according to Elliott (2004), "the traditional life cycle approaches to systems development have been increasingly replaced with alternative approaches and frameworks, which attempted to overcome some of the inherent deficiencies of the traditional SDLC". The main idea of the SDLC has been "to pursue the development of information systems in a very deliberate, structured and methodical way, requiring each stage of the life cycle––from the inception of the idea to delivery of the final system––to be carried out rigidly and sequentially" within the context of the framework being applied. Other methodologies were devised later: 1970s Structured programming since 1969 Cap Gemini SDM, originally from PANDATA, the first English translation was published in 1974. SDM stands for System Development Methodology 1980s Structured systems analysis and design method (SSADM) from 1980 onwards Information Requirement Analysis/Soft systems methodology 1990s Object-oriented programming (OOP) developed in the early 1960s and became a dominant programming approach during the mid-1990s Rapid application development (RAD), since 1991 Dynamic systems development method (DSDM), since 1994 Scrum, since 1995 Team software process, since 1998 Rational Unified Process (RUP), maintained by IBM since 1998 Extreme programming, since 1999 2000s Agile Unified Process (AUP) maintained since 2005 by Scott Ambler Disciplined agile delivery (DAD) Supersedes AUP 2010s Scaled Agile Framework (SAFe) Large-Scale Scrum (LeSS) DevOps Since DSDM in 1994, all of the methodologies on the above list except RUP have been agile methodologies - yet many organizations, especially governments, still use pre-agile processes (often waterfall or similar). === Examples === The following are notable methodologies somewhat ordered by popularity. Agile Agile software development refers to a group of frameworks based on iterative development, where requirements and solutions evolve via collaboration between self-organizing cross-functional teams. The term was coined in the year 2001 when the Agile Manifesto was formulated. Waterfall The waterfall model is a sequential development approach, in which development flows one-way (like a waterfall) through the SDLC phases. Spiral In 1988, Barry Boehm published a software system development spiral model, which combines key aspects of the waterfall model and rapid prototyping, in an effort to combine advantages of top-down and bottom-up concepts. It emphases a key area many felt had been neglected by other methodologies: deliberate iterative risk analysis, particularly suited to large-scale complex systems. Incremental Various methods combine linear and iterative methodologies, with the primary objective of reducing inherent project risk by breaking a project into smaller segments and providing more ease-of-change during the development process. Prototyping Software prototyping is about creating prototypes, i.e. incomplete versions of the software program being developed. Rapid Rapid application development (RAD) is a methodology which favors iterative development and the rapid construction of prototypes instead of large amounts of up-front planning. The "planning" of software developed using RAD is interleaved with writing the software itself. The lack of extensive pre-planning generally allows software to be written much faster and makes it easier to change requirements. Shape Up Shape Up is a software development approach introduced by Basecamp in 2018. It is a set of principles and techniques that Basecamp developed internally to overcome the problem of projects dragging on with no clear end. Its primary target audience is remote teams. Shape Up has no estimation and velocity tracking, backlogs, or sprints, unlike waterfall, agile, or scrum. Instead, those concepts are replaced with appetite, betting, and cycles. As of 2022, besides Basecamp, notable organizations that have adopted Shape Up include UserVoice and Block. Chaos Chaos model has one main rule: always resolve the most important issue first. Incremental funding Incremental funding methodology - an iterative approach. Lightweight Lightweight methodology - a general term for methods that only have a few rules and practices. Structured systems analysis and design Structured systems analysis and design method - a specific version of waterfall. Slow programming As part of the larger slow movement, emphasizes careful and gradual work without (or minimal) time pressures. Slow programming aims to avoid bugs and overly quick release schedules. V-Model V-Model (software development) - an extension of the waterfall model. Unified Process Unified Process (UP) is an iterative software development methodology framework, based on Unified Modeling Language (UML). UP organizes the development of software into four phases, each consisting of one or more executable iterations of the software at that stage of development: inception, elaboration, construction, and guidelines. === Comparison === The waterfall model describes the SDLC phases such that each builds on the result of the previous one. Not every project requires that the phases be sequential. For relatively simple projects, phases may be combined or overlapping. Alternative methodologies to waterfall are described and compared below. == Process meta-models == Some process models are abstract descriptions for evaluating, comparing, and improving the specific process adopted by an organization. ISO/IEC 12207 ISO/IEC 12207 i

  Read more →
• 

  Context-sensitive user interface

  A context-sensitive user interface offers the user options based on the state of the active program. Context sensitivity is ubiquitous in current graphical user interfaces, often in context menus. A user-interface may also provide context sensitive feedback, such as changing the appearance of the mouse pointer or cursor, changing the menu color, or with auditory or tactile feedback. == Reasoning and advantages of context sensitivity == The primary reason for introducing context sensitivity is to simplify the user interface. Advantages include: Reduced number of commands required to be known to the user for a given level of productivity. Reduced number of clicks or keystrokes required to carry out a given operation. Allows consistent behaviour to be pre-programmed or altered by the user. Reduces the number of options needed on screen at one time. === Disadvantages === Context sensitive actions may be perceived as dumbing down of the user interface, leaving the operator at a loss as to what to do when the computer decides to perform an unwanted action. Additionally non-automatic procedures may be hidden or obscured by the context sensitive interface causing an increase in user workload for operations the designers did not foresee. A poor implementation can be more annoying than helpful – a classic example of this is Office Assistant. == Implementation == At the simplest level each possible action is reduced to a single most likely action – the action performed is based on a single variable (such as file extension). In more complicated implementations multiple factors can be assessed such as the user's previous actions, the size of the file, the programs in current use, metadata etc. The method is not only limited to the response to imperative button presses and mouse clicks – pop-up menus can be pruned and/or altered, or a web search can focus results based on previous searches. At higher levels of implementation context sensitive actions require either larger amounts of meta-data, extensive case analysis based programming, or other artificial intelligence algorithms. === In computer and video games === Context sensitivity is important in video games, especially those controlled by a gamepad, joystick or computer mouse in which the number of buttons available is limited. It is primarily applied when the player is in a certain place and is used to interact with a person or object. For example, if the player is standing next to a non-player character, an option may come up allowing the player to talk with them. Implementations range from the embryonic 'Quick Time Event' to context sensitive sword combat in which the attack used depends on the position and orientation of both the player and opponent, as well as the virtual surroundings. A similar range of use is found in the 'action button' which, depending upon the in-game position of the player's character, may cause it to pick something up, open a door, grab a rope, punch a monster or opponent, or smash an object. The response does not have to be player activated – an on-screen device may only be shown in certain circumstances, e.g. 'targeting' cross hairs in a flight combat game may indicate the player should fire. An alternative implementation is to monitor the input from the player (e.g. level of button pressing activity) and use that to control the pace of the game in an attempt to maximize enjoyment or to control the excitement or ambience. The method has become increasingly important as more complex games are designed for machines with few buttons (keyboard-less consoles). Bennet Ring commented (in 2006) that "Context-sensitive is the new lens flare". === Context-sensitive help === Context sensitive help is a common implementation of context sensitivity, a single help button is actioned and the help page or menu will open a specific page or related topic.

  Read more →
• 

  Content-based image retrieval

  Content-based image retrieval, also known as query by image content (QBIC) and content-based visual information retrieval (CBVIR), is the application of computer vision techniques to the image retrieval problem, that is, the problem of searching for digital images in large databases (see this survey for a scientific overview of the CBIR field). Content-based image retrieval is opposed to traditional concept-based approaches (see Concept-based image indexing). "Content-based" means that the search analyzes the contents of the image rather than the metadata such as keywords, tags, or descriptions associated with the image. The term "content" in this context might refer to colors, shapes, textures, or any other information that can be derived from the image itself. CBIR is desirable because searches that rely purely on metadata are dependent on annotation quality and completeness. == Comparison with metadata searching == An image meta search requires humans to have manually annotated images by entering keywords or metadata in a large database, which can be time-consuming and may not capture the keywords desired to describe the image. The evaluation of the effectiveness of keyword image search is subjective and has not been well-defined. In the same regard, CBIR systems have similar challenges in defining success. "Keywords also limit the scope of queries to the set of predetermined criteria." and, "having been set up" are less reliable than using the content itself. == History == The term "content-based image retrieval" seems to have originated in 1992 when it was used by Japanese Electrotechnical Laboratory engineer Toshikazu Kato to describe experiments into automatic retrieval of images from a database, based on the colors and shapes present. Since then, the term has been used to describe the process of retrieving desired images from a large collection on the basis of syntactical image features. The techniques, tools, and algorithms that are used originate from fields such as statistics, pattern recognition, signal processing, and computer vision. === QBIC - Query By Image Content === The earliest commercial CBIR system was developed by IBM and was called QBIC (Query By Image Content). Recent network- and graph-based approaches have presented a simple and attractive alternative to existing methods. While the storing of multiple images as part of a single entity preceded the term BLOB (Binary Large OBject), the ability to fully search by content, rather than by description, had to await IBM's QBIC. === VisualRank === == Technical progress == The interest in CBIR has grown because of the limitations inherent in metadata-based systems, as well as the large range of possible uses for efficient image retrieval. Textual information about images can be easily searched using existing technology, but this requires humans to manually describe each image in the database. This can be impractical for very large databases or for images that are generated automatically, e.g. those from surveillance cameras. It is also possible to miss images that use different synonyms in their descriptions. Systems based on categorizing images in semantic classes like "cat" as a subclass of "animal" can avoid the miscategorization problem, but will require more effort by a user to find images that might be "cats", but are only classified as an "animal". Many standards have been developed to categorize images, but all still face scaling and miscategorization issues. Initial CBIR systems were developed to search databases based on image color, texture, and shape properties. After these systems were developed, the need for user-friendly interfaces became apparent. Therefore, efforts in the CBIR field started to include human-centered design that tried to meet the needs of the user performing the search. This typically means inclusion of: query methods that may allow descriptive semantics, queries that may involve user feedback, systems that may include machine learning, and systems that may understand user satisfaction levels. == Techniques == Many CBIR systems have been developed, but as of 2006, the problem of retrieving images on the basis of their pixel content remains largely unsolved. Different query techniques and implementations of CBIR make use of different types of user queries. === Query By Example === QBE (Query By Example) is a query technique that involves providing the CBIR system with an example image that it will then base its search upon. The underlying search algorithms may vary depending on the application, but result images should all share common elements with the provided example. Options for providing example images to the system include: A preexisting image may be supplied by the user or chosen from a random set. The user draws a rough approximation of the image they are looking for, for example with blobs of color or general shapes. This query technique removes the difficulties that can arise when trying to describe images with words. === Semantic retrieval === Semantic retrieval starts with a user making a request like "find pictures of Abraham Lincoln". This type of open-ended task is very difficult for computers to perform - Lincoln may not always be facing the camera or in the same pose. Many CBIR systems therefore generally make use of lower-level features like texture, color, and shape. These features are either used in combination with interfaces that allow easier input of the criteria or with databases that have already been trained to match features (such as faces, fingerprints, or shape matching). However, in general, image retrieval requires human feedback in order to identify higher-level concepts. === Relevance feedback (human interaction) === Combining CBIR search techniques available with the wide range of potential users and their intent can be a difficult task. An aspect of making CBIR successful relies entirely on the ability to understand the user intent. CBIR systems can make use of relevance feedback, where the user progressively refines the search results by marking images in the results as "relevant", "not relevant", or "neutral" to the search query, then repeating the search with the new information. Examples of this type of interface have been developed. === Iterative/machine learning === Machine learning and application of iterative techniques are becoming more common in CBIR. === Other query methods === Other query methods include browsing for example images, navigating customized/hierarchical categories, querying by image region (rather than the entire image), querying by multiple example images, querying by visual sketch, querying by direct specification of image features, and multimodal queries (e.g. combining touch, voice, etc.) == Content comparison using image distance measures == The most common method for comparing two images in content-based image retrieval (typically an example image and an image from the database) is using an image distance measure. An image distance measure compares the similarity of two images in various dimensions such as color, texture, shape, and others. For example, a distance of 0 signifies an exact match with the query, with respect to the dimensions that were considered. As one may intuitively gather, a value greater than 0 indicates various degrees of similarities between the images. Search results then can be sorted based on their distance to the queried image. Many measures of image distance (Similarity Models) have been developed. === Color === Computing distance measures based on color similarity is achieved by computing a color histogram for each image that identifies the proportion of pixels within an image holding specific values. Examining images based on the colors they contain is one of the most widely used techniques because it can be completed without regard to image size or orientation. However, research has also attempted to segment color proportion by region and by spatial relationship among several color regions. === Texture === Texture measures look for visual patterns in images and how they are spatially defined. Textures are represented by texels which are then placed into a number of sets, depending on how many textures are detected in the image. These sets not only define the texture, but also where in the image the texture is located. Texture is a difficult concept to represent. The identification of specific textures in an image is achieved primarily by modeling texture as a two-dimensional gray level variation. The relative brightness of pairs of pixels is computed such that degree of contrast, regularity, coarseness and directionality may be estimated. The problem is in identifying patterns of co-pixel variation and associating them with particular classes of textures such as silky, or rough. Other methods of classifying textures include: Co-occurrence matrix Laws texture energy Wavelet transform Orthogonal transforms (discrete Chebyshev moments) =

  Read more →
• 

  Niceaunties

  Niceaunties is the pseudonym of a Singapore-based artist and designer whose work incorporates generative artificial intelligence, video, and digital installation. Her practice centers around the figure of the "auntie", a common term for older women in Southeast Asian contexts, and explores themes such as aging, care, domesticity, and gender roles. Her work has been featured in exhibitions and media platforms including TED, Christie's Art + Tech, Expanded.Art, and publications such as The Guardian, The Straits Times. == Early life and career == Niceaunties was born in 1981 in Singapore. She attributes her inspiration for "auntie culture" to the matriarchal environment and older women of her household, including her grandmother, while growing up. She is also an architectural designer with Spark Architect. The Niceaunties project began in 2023 after she encountered AI-generated images in her work as an architect. It draws inspiration from women in the artist's family and broader Southeast Asian cultural dynamics. Her work often features AI-generated visuals created with tools such as DALL-E, Krea, RunwayML, and SORA. Her imagery and narratives center on the fictional "Auntieverse", which features older women in imagined settings involving community, ecology, and labor. Her notable works include 'Auntlantis', a five-part video series imagining older women engaged in ocean clean-up and collective ritual, and 'Goddess,' a video created with Sora, featuring a character who gradually forgets her divine identity through years of domestic labor. == Exhibitions == 2024 – Expanded.Art, Berlin – Auntiedote solo exhibition 2024 – TED (conference), Vancouver – Speaker and screening 2024 – Victoria and Albert Museum, London – Digital Art Weekend 2024 – Louisiana Museum of Modern Art, Denmark – Ocean exhibition 2025 – Christie's Augmented Intelligence Auction, New York == Reception == In 2024, Niceaunties gave a TED Talk titled The Weird and Wonderful Art of Niceaunties. Journalist Rebecca Ratcliffe, writing for The Guardian, described her work as combining AI with "the surreal and the political," noting her focus on older women as central characters. Her work has also received criticism for being reliant on generative AI, which many feel exploits and steals from traditional artists.

  Read more →
• 

  Generative art

  Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu

  Read more →
• 

  Cube 3D

  Cube 3D is an artificial intelligence model that is developed by Roblox Corporation. It is open source and available on GitHub and Hugging Face. In March 2026, Roblox announced Cube 3D as a mesh generation model that takes text input. In February 2026, Roblox released 4D creation in a public beta, allowing embedding Cube 3D into Roblox games. Cube 3D is integrated into Roblox Studio and its API, and supports two modes of 4D creation. == History == In March 2025, Roblox announced Cube 3D as a mesh generation model that takes text input. Its first feature was an API that allows mesh generation. That month, it was made open source. Over 1.8 million assets have been generated by Cube 3D since March 2025. In March 2025, 4D creation was announced. That November, 4D creation was released in early access. In February 2026, Roblox released 4D creation in a public beta, allowing embedding Cube 3D into Roblox games. == Technology == Cube 3D is trained on Roblox meshes. To generate meshes, it tokenises meshes and shapes and predicts the next token. Cube 3D is integrated into Roblox Studio and the Roblox Studio API. Its API allows mesh generation. In 4D creation, two modes can be used. Car-5 supports modular objects, and Body-1 only supports single-mesh objects.

  Read more →
• 

  Megami Tensei

  Megami Tensei, marketed internationally as Shin Megami Tensei (formerly Revelations), is a Japanese media franchise created by Aya Nishitani, Kouji "Cozy" Okada, Ginichiro Suzuki, and Kazunari Suzuki. Primarily developed and published by Atlus, the franchise consists of multiple subseries and covers multiple role-playing video game genres including tactical role-playing, action role-playing, and massively multiplayer online role-playing. The first two titles in the series were published by Namco (now Bandai Namco Entertainment), but have been almost always published by Atlus in Japan and North America since the release of Shin Megami Tensei. For Europe, Atlus publishes the games through third-party companies. The series was originally based on Digital Devil Story, a science fiction novel series by Aya Nishitani. The series takes its name from the first book's subtitle. Most Megami Tensei titles are stand-alone entries with their own stories and characters. Recurring elements include plot themes, a story shaped by the player's choices, and the ability to fight using and often recruit creatures (demons, Personas) to aid the player in battle. Elements of philosophy, religion, occultism, and science fiction have all been incorporated into the series at different times. While not maintaining as high a profile as series such as Final Fantasy and Dragon Quest, it is highly popular in Japan and maintains a strong cult following in the West, finding critical and commercial success. The series has become well known for its artistic direction, challenging gameplay, and music, but raised controversy over its mature content, dark themes, and use of Christian religious imagery. Additional media include manga adaptations, anime films, and television series. In Japan, some games in the series do not use the "Megami Tensei" title, such as the Persona sub-series. Many of the early games in the series were not localized due to potentially controversial content including religious references, and later due to their age. English localizations have used the "Shin Megami Tensei" moniker since the release of Shin Megami Tensei: Nocturne in 2004. == Titles == === Games === The first installment in the franchise, Digital Devil Story: Megami Tensei, was released on September 11, 1987. The following entries have nearly always been unrelated to each other except in carrying over thematic and gameplay elements. The Megami Tensei games, and the later Shin Megami Tensei titles form the core of the series, while other subseries such as Persona, Devil Children, and Devil Summoner are spin-offs marketed as part of the franchise. There are also stand-alone spin-off titles. ==== Main series ==== Two entries were released for the Famicom: Digital Devil Story: Megami Tensei in 1987, and Digital Devil Story: Megami Tensei II in 1990. The two titles are unrelated to each other in terms of story, and each introduced the basic gameplay and story mechanics that would come to define the series. Three entries were released for the Super Famicom: Shin Megami Tensei in 1992, followed byShin Megami Tensei II in 1994, and Shin Megami Tensei If..., released later in the same year. Shin Megami Tensei III: Nocturne was released in 2003 for the PlayStation 2. Its Maniax Edition director's cut was released in Japan and North America in 2004, and in Europe in 2005. The numeral was dropped for its North American release, and its title changed to Shin Megami Tensei: Lucifer's Call in Europe. Shin Megami Tensei IV for the Nintendo 3DS was released in 2013 in Japan and North America, and a year later in Europe as a digital-only release. Another game set in the same universe, Shin Megami Tensei IV: Apocalypse, was released for the 3DS in February 2016 in Japan. Shin Megami Tensei V was released on the Nintendo Switch in 2021. An enhanced version of the game titled Shin Megami Tensei V: Vengeance was released in June 2024 for Microsoft Windows, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One and Xbox Series X/S. In addition to the main series, there are also numerous spin-offs. Shin Megami Tensei: Nine, was released for the Xbox in 2002. Originally designed as a massively multiplayer online role-playing game (MMORPG), it was later split into a dual single-player and multiplayer package, and the single-player version released first. The online version was delayed and eventually cancelled as the developers could not manage the required online capacities using Xbox Live. Shin Megami Tensei: Imagine, a true MMOROG released for Microsoft Windows, was released in 2007 in Japan, 2008 in North America, and 2009 in Europe. Western service was terminated in 2014 when Marvelous USA, the game's then-handlers, shut down their PC Online game department. Shin Megami Tensei: Strange Journey was released for the Nintendo DS in 2009 in Japan and 2010 in North America. Its Japanese service ended in May 2016. A smartphone game, Shin Megami Tensei: Liberation Dx2, was released in 2018. ==== Persona ==== The Persona series is the largest and most popular spin-off from the Megami Tensei series. The first entry in the series, Megami Ibunroku Persona (originally released overseas as Revelations: Persona), was released in 1996 in Japan and North America. The first Persona 2 title, Innocent Sin, was released in 1999 in Japan. The second game, Eternal Punishment, was released in 2000 in Japan and North America. Persona 3 was released in 2006 in Japan, 2007 in North America, and 2008 in Europe. Its sequel, Persona 4, was released in 2008 in Japan and North America, and in 2009 in Europe. A sixth entry in the series, Persona 5, was released in Japan on September 15, 2016, and was released in North America and Europe on April 4, 2017, to critical acclaim. The series also features spin-offs, including Persona Q: Shadow of the Labyrinth and Persona Q2: New Cinema Labyrinth, two fighting games Persona 4 Arena and its sequel Arena Ultimax as well as the crossover fighting game BlazBlue: Cross Tag Battle, tactical role-playing game Persona 5 Tactica, action role-playing game Persona 5 Strikers and rhythm games Persona 4: Dancing All Night, Persona 3: Dancing in Moonlight, and Persona 5: Dancing in Starlight. While Persona 3 and 4 used the Shin Megami Tensei moniker in the West, it was dropped for the Persona 4 Arena duology and Persona 4 Golden as it would have made the titles too long to be practical. ==== Devil Summoner ==== The Devil Summoner subseries began in 1995 with the release of Shin Megami Tensei: Devil Summoner. It was followed by Devil Summoner: Soul Hackers in 1997, then followed by Soul Hackers 2, released in 2022. Two action role-playing prequels set in 1920s Tokyo were also developed, which revolve around demon summoner Raidou Kuzunoha: Raidou Kuzunoha vs. the Soulless Army was released in 2006, and Raidou Kuzunoha vs. King Abaddon was released in 2008. ==== Other spin-offs ==== Aside from Persona and Devil Summoner, there are other spin-off series covering multiple genres. After the release of Shin Megami Tensei II, Atlus began focusing work on building spin-offs and subseries that would form part of the Megami Tensei franchise. Shortly after Nocturne's release, a duology titled Digital Devil Saga (Digital Devil Saga: Avatar Tuner in Japan) was created based around similar systems to Nocturne, and was also intended as a more accessible gaming experience. Two tactical role-playing games have been developed by Atlus for the DS under the Devil Survivor moniker: the original Devil Survivor and Devil Survivor 2. Both have received expanded ports for the 3DS. Other subseries include Last Bible, a series aimed at a younger audience and using a pure fantasy setting; Devil Children, which was inspired by the popular Pokémon series; and Majin Tensei, a series of strategy games. Two notable stand-alone spin-offs are action spin-off Jack Bros. and Tokyo Mirage Sessions ♯FE, a crossover with Intelligent Systems' Fire Emblem series. === Related media === Several titles in the franchise have received anime and manga adaptations. Persona 3 received both a four-part theatrical adaptation (#1 Spring of Birth, #2 Midsummer Knight's Dream, #3 Falling Down, #4 Winter of Rebirth), and a spin-off series titled Persona: Trinity Soul. Persona 4 received two adaptations: Persona 4: The Animation, based on the original game, and Persona 4: The Golden Animation, based on its expanded PlayStation Vita port. A live-action television series based on the original Devil Summoner was broadcast between 1997 and 1998. Devil Survivor 2 also received an anime adaptation of the same name, and the Devil Children series received two anime adaptations. Multiple Shin Megami Tensei and Persona titles have received manga and CD drama adaptations. Action figures and merchandise related to Persona have also been produced. == Common elements == Despite most games in the series taking place in different continuities, they do share certain elements

  Read more →
• 

  The Machine That Won the War (short story)

  "The Machine That Won the War" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the October 1961 issue of The Magazine of Fantasy & Science Fiction, and was reprinted in the collections Nightfall and Other Stories (1969) and Robot Dreams (1986). It was also printed in a contemporary edition of Reader's Digest, illustrated. It is one of a loosely connected series of such stories concerning a fictional supercomputer called Multivac. == Plot summary == Three influential leaders of the human race meet in the aftermath of a successful war against the Denebians. Discussing how the vast and powerful Multivac computer was a decisive factor in the war, each of the men admits that in fact, he falsified his part of the decision process because he felt that the situation was too complex to follow normal procedures. John Henderson, Multivac's Chief Programmer, admits that he altered the data being fed to Multivac, since the populace could not be trusted to report accurate information in the current situation. Max Jablonski then admits that he altered the data that Multivac produced, since he knew that Multivac was not in good working order due to manpower and spare parts shortage. Finally, Lamar Swift, executive director of the Solar Federation, reveals that he had not trusted the reports produced by Multivac, and had made the final decisions purely on the toss of a coin.

  Read more →
• 

  Text-to-video model

  A text-to-video model is a form of generative artificial intelligence that uses a natural language description as input to produce a video relevant to the input text. Advancements during the 2020s in the generation of high-quality, text-conditioned videos have largely been driven by the development of video diffusion models. == Models == There are different models, including open source models. Chinese-language input CogVideo is the earliest text-to-video model "of 9.4 billion parameters" to be developed, with its demo version of open source codes first presented on GitHub in 2022. That year, Meta Platforms released a partial text-to-video model called "Make-A-Video", and Google's Brain (later Google DeepMind) introduced Imagen Video, a text-to-video model with 3D U-Net. === 2023 === In February 2023, Runway released Gen-1 and Gen-2, among the first commercially available text-to-video and video-to-video models accessible to the public through a web interface. Gen-1, initially released as a video-to-video model, allowed users to transform existing video footage using text or image prompts. Gen-2, introduced in March 2023 and made publicly available in June 2023, added text-to-video capabilities, enabling users to generate videos from text prompts alone. In March 2023, a research paper titled "VideoFusion: Decomposed Diffusion Models for High-Quality Video Generation" was published, presenting a novel approach to video generation. The VideoFusion model decomposes the diffusion process into two components: base noise and residual noise, which are shared across frames to ensure temporal coherence. By utilizing a pre-trained image diffusion model as a base generator, the model efficiently generated high-quality and coherent videos. Fine-tuning the pre-trained model on video data addressed the domain gap between image and video data, enhancing the model's ability to produce realistic and consistent video sequences. In the same month, Adobe introduced Firefly AI as part of its features. === 2024 === In January 2024, Google announced development of a text-to-video model named Lumiere which is anticipated to integrate advanced video editing capabilities. Matthias Niessner and Lourdes Agapito at AI company Synthesia work on developing 3D neural rendering techniques that can synthesise realistic video by using 2D and 3D neural representations of shape, appearances, and motion for controllable video synthesis of avatars. In June 2024, Luma Labs launched its Dream Machine video tool. That same month, Kuaishou extended its Kling AI text-to-video model to international users. In July 2024, TikTok owner ByteDance released Jimeng AI in China, through its subsidiary, Faceu Technology. By September 2024, the Chinese AI company MiniMax debuted its video-01 model, joining other established AI model companies like Zhipu AI, Baichuan, and Moonshot AI, which contribute to China's involvement in AI technology. In December 2024 Lightricks launched LTX Video as an open source model. === 2025 === Alternative approaches to text-to-video models include Google's Phenaki, Hour One, Colossyan, Runway's Gen-3 Alpha, and OpenAI's Sora, Several additional text-to-video models, such as Plug-and-Play, Text2LIVE, and TuneAVideo, have emerged. FLUX.1 developer Black Forest Labs has announced its text-to-video model SOTA. Google was preparing to launch a video generation tool named Veo for YouTube Shorts in 2025. In May 2025, Google launched the Veo 3 iteration of the model. It was noted for its impressive audio generation capabilities, which were a previous limitation for text-to-video models. In July 2025 Lightricks released an update to LTX Video capable of generating clips reaching 60 seconds, and in October 2025 it released LTX-2, with audio capabilities built in. === 2026 === In February 2026, ByteDance released Seedance 2.0, it was noted for its impressive realistic generation, motion and camera control and 15 second generation, however the model faced huge critiscism from Motion Picture Association for copyright infringement. After viewing a viral clip of a fight between actors Brad Pitt and Tom Cruise, Rhett Reese, who is the co-writer of Deadpool & Wolverine and Zombieland announced that on social media "I hate to say it. It’s likely over for us," further stating that "In next to no time, one person is going to be able to sit at a computer and create a movie indistinguishable from what Hollywood now releases." == Architecture and training == There are several architectures that have been used to create text-to-video models. Similar to text-to-image models, these models can be trained using Recurrent Neural Networks (RNNs) such as long short-term memory (LSTM) networks, which has been used for Pixel Transformation Models and Stochastic Video Generation Models, which aid in consistency and realism respectively. An alternative for these include transformer models. Generative adversarial networks (GANs), Variational autoencoders (VAEs), — which can aid in the prediction of human motion — and diffusion models have also been used to develop the image generation aspects of the model. Text-video datasets used to train models include, but are not limited to, WebVid-10M, HDVILA-100M, CCV, ActivityNet, and Panda-70M. These datasets contain millions of original videos of interest, generated videos, captioned-videos, and textual information that help train models for accuracy. Text-video datasets used to train models include, but are not limited to PromptSource, DiffusionDB, and VidProM. These datasets provide the range of text inputs needed to teach models how to interpret a variety of textual prompts. The video generation process involves synchronizing the text inputs with video frames, ensuring alignment and consistency throughout the sequence. This predictive process is subject to decline in quality as the length of the video increases due to resource limitations. The Will Smith Eating Spaghetti test is a benchmark for models. == Limitations == Despite the rapid evolution of text-to-video models in their performance, a primary limitation is that they are very computationally heavy which limits its capacity to provide high quality and lengthy outputs. Additionally, these models require a large amount of specific training data to be able to generate high quality and coherent outputs, which brings about the issue of accessibility. Moreover, models may misinterpret textual prompts, resulting in video outputs that deviate from the intended meaning. This can occur due to limitations in capturing semantic context embedded in text, which affects the model's ability to align generated video with the user's intended message. Various models, including Make-A-Video, Imagen Video, Phenaki, CogVideo, GODIVA, and NUWA, are currently being tested and refined to enhance their alignment capabilities and overall performance in text-to-video generation. Another issue with the outputs is that text or fine details in AI-generated videos often appear garbled, a problem that stable diffusion models also struggle with. Examples include distorted hands and unreadable text. == Ethics == The deployment of text-to-video models raises ethical considerations related to content generation. These models have the potential to create inappropriate or unauthorized content, including explicit material, graphic violence, misinformation, and likenesses of real individuals without consent. Ensuring that AI-generated content complies with established standards for safe and ethical usage is essential, as content generated by these models may not always be easily identified as harmful or misleading. The ability of AI to recognize and filter out NSFW or copyrighted content remains an ongoing challenge, with implications for both creators and audiences. == Impacts and applications == Text-to-video models offer a broad range of applications that may benefit various fields, from educational and promotional to creative industries. These models can streamline content creation for training videos, movie previews, gaming assets, and visualizations, making it easier to generate content. During the Russo-Ukrainian war, fake videos made with artificial intelligence were created as part of a propaganda war against Ukraine and shared in social media. These included depictions of children in the Ukrainian Armed Forces, fake ads targeting children encouraging them to denounce critics of the Ukrainian government, or fictitious statements by Ukrainian President Volodymyr Zelenskyy about the country's surrender, among others. === Movies === Kaur vs Kore is the first Indian feature film made using generative AI which features dual role for the AI character of Sunny Leone, set to release in 2026. Chiranjeevi Hanuman – The Eternal is an Indian movie made entirely using Generative AI created by Vijay Subramaniam which is set for theatrical release in 2026. The movie was widely criticised by the Film makers in the Bollywood industr

  Read more →
• 

  Lymphater's Formula

  "Lymphater's Formula" (Polish: "Formula Lymphatera") is a 1961 science fiction short story by Polish writer Stanisław Lem. It is a story of a "mad scientist", mathematician Ammon Lymphater, who invents an artificial intelligence, and then he realizes that it is capable of rendering the humankind obsolete. It was first published in the 1961 collection Księga robotów (Book of Robots) with the pre-annotation "from the memoirs of Ijon Tichy". The story was never republished with this pre-annotation, and nothing in the novel gives any indication at Ijon Tichy. Piotr Krywak tried to figure out possible explanations for this, apart from a typographical error. == Plot == Ammon Lymphater became interested in the emerging science of cybernetics and information theory, and started studying the works of an animal brain, the ant's brain in particular. He took note that the inherited knowledge is an evolutionary advantage somehow not exploited in full by the evolution. Eventually he came to a conclusion that only by pure biological restrictions that adaptive abilities of insects were stopped in their tracks by the evolution. He went on further wondering whether the ants have an ability to apriori knowledge, i.e., knowledge neither inherited nor learned. He decided to consult a famous myrmecologist, who told him about a rare ant species Acanthis Rubra Willinsoniana with an exceptionally high adaptability. Eventually Lymphater devised and constructed "It" capable of instant precognition of everything within "Its" rapidly expanding range of perception. From "It" Lymphater learns that the humanity is not the "crown of evolution", but rather evolution's tool to create "It", because the evolution could not create "It" directly (confirming Lymphater's reasoning about ants). Realizing that the Superentity "It" renders the human civilization redundant and obsolete, Lymphater destroys "It". "It" already knew Lymphater's intentions, but was not worried, knowing that sooner or later someone else will create "It" again and again. "It" was only the first variant of Lymphater's formula and the second variant is possible. Lyphater wonders whether the second one would be capable to create the third stage of the evolution which would amount to an artificial God. == Publication history == It was translated in Russian (as "Формула Лимфатера") in 1963, in Hungarian (as "Lymphater utolsó képlete") in 1966, and in Bulgarian (as "Формулата на Лимфатер" by Георги Димитров Георгиев) in 1969. In 1973 an audiobook was released in German (as "Die lymphatersche Formel"), narrated by Martin Held. It was also republished (and translated) in some other collections of Lem's short stories.

  Read more →
• 

  Smart speaker

  A smart speaker is a type of loudspeaker and voice command device with an integrated virtual assistant that offers interactive actions and hands-free activation with the help of one "wake word" (or several "wake words"). Some smart speakers also act as smart home hubs by using Wi-Fi, Bluetooth, Thread, and other protocol standards to extend usage beyond audio playback and control home automation devices connected through a local area network. == History == Early voice-activated devices began in 2013 with MIT's Jasper project, which used multiple microphones and cloud software to power hands-free interactions from across a room. The first commercial smart speaker was the Amazon Echo, which was released in 2014 powered by Alexa and a ring of far-field microphones. Google followed in 2016 with Home, powered by Google Assistant. By 2017, devices like the Echo Show and Home Hub (later called Nest Hub) added touchscreens and video, creating the "smart display" subcategory. In 2018, Apple joined the smart speaker trend by launching the HomePod, which focused on high-quality audio alongside their built-in assistant Siri. ASUS release its own smart Speaker Xiao-Bu in 2019 with Artificial Intelligence, it terminates the Cloud Service on June 1st, 2025, which means all real-time service such as weather, news, currency conversion is affected. Sonos's 1st smart speaker Sonos One released in 2017, powered by Alexa. Invoke by Harman Kardon was powered by Microsoft's intelligent personal assistant, Cortana. In the early 2020s, smart speakers gained on-device voice processing for faster responses and improved privacy. New standards such as Matter and Thread allowed multitudes of smart-home devices (even from completely different brands) to work together. == Features == === Audio and Voice === Smart speakers use multiple microphones along with noise-cancelling software to pick up your voice from across the room, even when music is playing or the assistant is already talking. Noise suppression and echo cancellation is also used by the speaker so it can focus in on who is talking and ignore any background noises. Most smart speaker models can recognize who is speaking by voiceprint, which allows the speaker to grab information from that person's calendar, preferences, or music playlists. Listening to music on a speaker is when importance for good audio quality becomes apparent. Entry-level (cheaper) speakers such as the Home Mini or the Echo Dot have a single full-range driver. These lower-end speakers typically aren't great for listening to music as the audio quality is pretty poor. More advanced units such as the Home Max or Echo Studio have separate tweeters and woofers meant for listening to music in high quality. === Connectivity and smart-home control === Most connect over Wi-Fi or Bluetooth and support hub protocols like Thread and Matter. That lets them not only stream and play music but also allows you to control various brands of smart lights, thermostats, door locks, cameras, and much more-all from one point of control. Each can have its own designated interface and features in-house, usually launched or controlled via application or home automation software. These devices are able to communicate with each other via peer-to-peer connection through mesh networking. These speakers and related smart devices are typically controlled with one smartphone application. === Assistant services and skills === The built-in assistants handle timers, alarms, reminders, news briefings, weather updates, send messages to other smart devices, send texts, make calls, and simple questions. You can combine actions together in what are typically known as routines (for example saying "good morning" turns on lights, starts the coffee, says the weather, and reads the news) and add extra functions known as skills or actions (for things like ordering food or playing trivia games). This hands-free use of smart speakers can help assist those with disabilities. Most other technologies need the user to be able to physically interact with the device. Smart speakers are not bound by these limitations and can serve as an excellent tool for those who are unable to use their arms or legs or have vision issues. Although these tasks can be completed by a phone or computer, consumers tend to lean towards smart speakers due to factors such as their range being much greater than that of a phone and the need to not have to physically interact with the speaker to get the voice assistant as with most smartphones, certain parts of a phone may need to be interacted with to activate the speaking assistant. === Smart displays === Some smart speakers also include a screen to show the user a visual response. A smart speaker with a touchscreen is known as a smart display; these integrate a conversational user interface with display screens to augment voice interaction with images and video. They are powered by one of the common voice assistants and offer additional controls for smart home devices, feature streaming apps, and web browsers with touch controls for selecting content. The first smart displays were introduced in 2017 by Amazon (Amazon Echo Show) and Google (Google/Nest Home Hub). Hotel chain Marriott International partnered with Amazon to install Echo devices in select hotels since 2018. A Taiwanese startup, Aiello, launched the Aiello Voice Assistant (AVA) in the Asian hotel market in 2019, claiming it is powered by a multi-AI model system. Angie by Nomadix, which is similar to the Amazon Echo, launched its first product in 2017, specifically targeting hotel properties in the North America. In May 2019, Angie Hospitality acquired the assets of Roxy, a competitor that also built its own speech-enabled virtual assistant technology for hotels. This acquisition merged two proprietary NLP stacks into the current Nomadix product. === Artificial intelligence === The newest speakers can use on-device AI or cloud-based generative models to allow the smart speaker to carry on much more natural conversations, draft emails or recipes, suggest ideas based on context, or even create short pieces of music or art. This AI evolution allows these speakers to do far more than what they could do before. == Accuracy == According to a study by Proceedings of the National Academy of Sciences of the United States of America released In March 2020, the six biggest tech development companies, Amazon, Apple, Google, Yandex, IBM and Microsoft, have misidentified more words spoken by "black people" than "white people". The systems tested errors and unreadability, with a 19 and 35 percent discrepancy for the former and a 2 and 20 percent discrepancy for the latter. The North American Chapter of the Association for Computational Linguistics (NAACL) also identified a discrepancy between male and female voices. According to their research, Google's speech recognition software is 13 percent more accurate for men than women. It performs better than the systems used by Bing, AT&T, and IBM. == Privacy concerns == The built-in microphone in smart speakers is continuously listening for wake words followed by a command. However, these continuously listening microphones also raise privacy concerns among users. According to a survey taken by 1,007 people in Western Europe, it is clear that privacy is the biggest concern holding consumers back from buying "smart" products. these concerns include what is being recorded, how the data will be used, how it will be protected, and whether it will be used for invasive advertising. Furthermore, an analysis of Amazon Echo Dots showed that 30–38% of "spurious audio recordings were human conversations", suggesting that these devices capture audio other than strictly detection of the wake word. === As a wiretap === There are strong concerns that the ever-listening microphone of smart speakers presents a perfect candidate for wiretapping. In 2017, British security researcher Mark Barnes showed that pre-2017 Echos have exposed pins which allow for a compromised OS to be booted. According to Umar Iqbal, an assistant professor at Washington University in St. Louis, research indicates that data from consumer interactions with Alexa was used to targeted advertisements and products to consumer with over 40% of transmitted data lacking proper encryption raising privacy concerns. Further data indicates that due to the Smart Speakers ability to always capture audio, it begins to pick up on external conversations from consumers not related to commands given to the smart speaker. Things such as other members in the household, consumers on the phone and even TV audio can be picked up by these speakers and stored for future use by companies. === Voice assistance vs privacy === While voice assistants provide a valuable service, there can be some hesitation towards using them in various social contexts, such as in public or around other users. However, only more recently have users begun interac

  Read more →