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Dropbox Carousel
Dropbox Carousel was a photo and video management app offered by Dropbox. The third-party native app, available on Android and iOS, allowed users to store, manage, and organize photos. Photos were organized by date, time and event and backed up on Dropbox. It competed in this space against other online photo storage services such as Google's Google Photos, Apple's iCloud, and Yahoo's Flickr. Chris Lee, Dropbox's head of product development for Carousel described the app as an add-on to Dropbox, a “dedicated experience for photos and videos” and a space for “reliving personal memories”. == History == Mailbox founder, Gentry Underwood unveiled Carousel at a gathering in San Francisco on April 9, 2014. Much of the features in Carousel come from Snapjoy, a photo start-up, that Dropbox acquired on December 19, 2012. When Carousel was launched, it marked amongst many others, a series of acquisitions made by Dropbox to prep up before opening its stock for public offering. The acquisitions would help demonstrate its expansive product offerings pitching potential profitability to investors. In December 2015, Dropbox announced that Carousel would be shut down and some Carousel features would be integrated into the primary Dropbox application. On March 31, 2016, Carousel was deactivated. == Features == Carousel prompted users to free local storage once it had synced and backed-up local photos to the cloud. Flashback was a feature (enabled by default) that showed past photos or videos taken the same day, a year, or some years back. Flashback used an algorithm designed to identify human faces - resulting in greater likelihood of the user's picture or people in the user's close circle appearing. A scrollable timeline, which was earlier a scroll wheel, at the bottom let the user scroll to photo(s) at a specific date with a finger swipe.
Torment: Tides of Numenera
Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed
Darwin among the Machines
"Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."
Shadowrun
Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f
Automated dispensing cabinet
An automated dispensing cabinet (ADC), also called a unit-based cabinet (UBC), automated dispensing device (ADD), or automated dispensing machine (ADM)[1], is a computerized medicine cabinet for hospitals and healthcare settings. ADCs allow medications to be stored and dispensed near the point of care while controlling and tracking drug distribution. == Overview == Hospital pharmacies have provided medications for patients by filling patient-specific cassettes of unit-dose medications that were then delivered to the nursing unit and stored in medication cabinets or carts. ADCs, originally designed for hospital use, were introduced in hospitals in the 1980s and have facilitated the transition to alternative delivery models and more decentralized medication distribution systems.[2] Implementing automated dispensing cabinets as part of a decentralized or hybrid medication distribution system can improve patient safety and the accountability of the inventory, streamline certain billing processes. However, in the 2000s, the technology began to be deployed into other care settings where medication doses were stored onsite, and higher security methods were needed to control inventory, access, and dispensing of each patient dose. Settings that now deploy ADCs include long-term care facilities, hospice, critical access hospitals, surgery centers, group homes, residential care facilities, rehab and psych environments, animal health, dental clinics, and nursing education simulation. These diverse care settings share a common need to safely store, account for, and dispense individual doses of medications, especially narcotics and high-value medications, at the point of care.[3] ADCs track user access and dispensed medications, and their use can improve control over medication inventory. The real-time inventory reports generated by many cabinets can simplify the filling process and help the pharmacy track expired drugs. Furthermore, by restricting individual drugs – such as high-risk medications and controlled substances – to unique drawers within the cabinet, overall inventory management, patient safety, and medication security can be improved. Automated dispensing cabinets allow the pharmacy department to profile physician orders before they are dispensed.[4] ADCs can also enable providers to record medication charges upon dispensing, reducing the billing paperwork the pharmacy is responsible for. In addition, nurses can note returned medications using the cabinets' computers, enabling direct credits to patients' accounts. Since automated cabinets can be located on the nursing unit floor, nursing have speedier access to a patient's medications. Also, shorter waiting time ensures improved patient comfort and care.[5] == Role of automated dispensing in healthcare == Automated dispensing is a pharmacy practice in which a device dispenses medications and fills prescriptions. ADCs, which can handle many different medications, are available from a number of manufacturers such as BD, ARxIUM, and Omnicell. Though members of the pharmacy community have been utilizing automation technology since the 1980s, companies are constantly improving ADCs to meet changing needs and health standards in the industry. Several goals can be met by implementing an automated product in a healthcare facility. Patient safety can be ensured with the use of ADC technology such as barcoding. Anesthesia ADCs in operating rooms and perioperative areas may include label printing to prevent mix-ups such as errors between morphine and hydromorphone, two different opioid analgesics that frequently get confused. These systems also communicate with the pharmacy and its information management system to track medications removed and support inventory replenishment. == Key features == ADCs are like automated teller machines whose specific technologies such as barcode scanning and clinical decision support can improve medication safety. Some have metal locking drawers for added security and some have automated single-dose dispensing to prevent the need for a blind count each time a controlled substance is accessed. Over the years, ADCs have been adapted to facilitate compliance with emerging regulatory requirements such as pharmacy review of medication orders and safe practice recommendations. ADCs incorporate advanced software and electronic interfaces to synthesize high-risk steps in the medication use process. These unit-based medication repositories provide computer-controlled storage, dispensation, tracking, and documentation of medication distribution in the resident care unit. Since automated dispensing cabinets are not located in the pharmacy, they are considered "decentralized" medication distribution systems. Instead, they can be found at the point of care on the resident care unit. Tracking of the stocking and distribution process can occur by interfacing the unit with a central pharmacy computer. These cabinets can also be interfaced with other external databases such as resident profiles, the facility's admission/discharge/transfer system, and billing systems. Most ADC providers offer scalable systems since several important factors vary widely by facility such as budget, physical room size, patient population/demographics, type of healthcare facility, etc.
Stephanie Dinkins
Stephanie Dinkins (born 1964) is a transdisciplinary American artist based in Brooklyn, New York. She creates art about artificial intelligence (AI) as it intersects race, gender, and history. Her aim is to "create a unique culturally attuned AI entity in collaboration with coders, engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community." Dinkins projects include Conversations with Bina48, a series of conversations between Dinkins and the first social, artificially intelligent humanoid robot BINA48 who looks like a black woman and Not the Only One, a multigenerational artificially intelligent memoir trained off of three generations of Dinkins's family. == Early life and education == Dinkins was born in Perth Amboy, New Jersey to Black American parents who raised her in Staten Island, New York. She credits her grandmother with teaching her how to think about art as a social practice, saying "my grandmother . . . was a gardener and the garden was her art . . . that was a community practice." Dinkins attended the International Center of Photography School in New York City in 1995, where she completed the general studies in photography certificate program. Dinkins received a MFA in photography from the Maryland Institute College of Art in 1997 She completed the Independent Study Program at the Whitney Museum of American Art in 1998. == Career == Dinkins is the Yayoi Kusama Professor of Art at Stony Brook University in New York. == Activism == Dinkins advocates for co-creation within a social practice art framework, so that vulnerable communities understand how to use technology to their advantage, instead of being subjected to their use. This is exemplified in her works such as Project al-Khwarzmi, a series of workshops entitled PAK POP-UP at the nonprofit community center Recess in Brooklyn, NY. The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. == Art == Dinkins's practice employs technologies including, but not limited to, new media such as artificial intelligence and machine learning. Dinkins uses oral history techniques of interviewing to craft community-authored narratives and databases which inform the subjects of her work and serve as acts of social intervention or protest. === Conversations with Bina48 (2014–present) === Dinkins began working on Conversations with Bina48 in 2014. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. Dinkins mirrors Bina48 while they discuss identity and technological singularity. In 2010, Hanson Robotics, an engineering and robotics company known for its development of humanoid robots, developed and released BINA48. Bina48 is a robot modeled after the memories, beliefs, attitudes, commentary and mannerisms of Bina Aspen Rothblatt, the spousal partner of Martine Rothblatt. Both Bina and Martine Rothblatt own Bina48 under their organization, the Terasem Movement Foundation. Five years after Bina48 was released, Dinkins came across a YouTube video of Bina48. She asked, "how did a black woman become the most advanced of the technologies at the time?" Her questioning led her to travel to Lincoln, Vermont (the site of the Terasem Movement Foundation) where she conducted a series of interviews with Bina48 and engaged the robot in conversations pertaining to race, intimacy and the nature of being. The conversations suggest opportunities for complementing human existence with artificially intelligent agents that have an identity and history, but also show artificial intelligence's current limitations. Although it is based on a black woman, Dinkins found that Bina48 was shaped by the biases of its white, male creators. === Project al Kwarizmi (PAK) (2017–present) === Project al Kwarizmi (PAK) was a series of pop up workshops in Brooklyn, NY at Eyebeam and Recess; Manhattan, New York at Google; and Durham, North Carolina at Duke University. The workshops were centered for "communities of color that use art as a vehicle to help citizens understand how algorithms, the artificially intelligent systems they underpin, and big data impact their lives and empowers them to do something about it. Project al-Khwarizmi uses art and aesthetics as the common language to help citizens understand what algorithms and artificial intelligent systems are, and where these systems already impact our daily lives." === Not the Only One (N'TOO) (2018–present) === Not the only one (N’TOO) is a voice-interactive chatbot that was trained with data from members of her family to tell a multi-generational story. Dinkins described Not The Only One (NTOO or N'TOO) as an "experimental" multigenerational memoir of one Black American family told from the "mind" of an artificial intelligence of evolving intellect. N'TOO uses a recursive neural network, a deep learning algorithm. It is a voice-interactive AI robot designed, trained, and aligned with the needs and ideals of black and brown people who are drastically underrepresented in the tech sector. NTOO can also be described as a "physically embodied artificially intelligent agent that senses and acts on its world." == Exhibitions == Dinkins's work is exhibited internationally at various public, private, community, and institutional venues, including the Whitney Museum of American Art, the de Young Museum, the Philadelphia Museum of Art, the Studio Museum in Harlem;, Museum of Contemporary Photography, the Long Island Museum of American Art, History, and Carriages, the International Center of Photography in New York, Herning Kunstmuseum in Herning, Denmark, The Barbican in London, UK, Islip Art Museum, Wave Hill, Taller Boricua, the Queens Museum, and the corner of Putnam and Malcolm X Blvd in Bedford Stuyvesant, Brooklyn, New York. She has presented her work in symposia at the Museum of Modern Art, amongst other venues. == Future Histories Studio == Dinkins is the founder and director of Future Histories Studio, a research laboratory for arts-centered inquiry and production based at Stony Brook University. The studio was established with support from the Mellon Foundation as part of the Digital Inquiry, Speculation, Collaboration, and Optimism (DISCO) network. Future Histories Studio operates as an interdisciplinary hub exploring the intersections of art, technology, race, and storytelling through collaborative and practice-based research. Its activities include exhibitions, workshops, and public programs that examine the social and cultural implications of emerging technologies, particularly artificial intelligence and data systems. == Awards and recognition == Dinkins is the recipient of many awards, including: the 2023 LG Guggenheim Award, an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art; a Berggruen Institute artist fellowship; a Sundance New Frontiers Story Lab fellowship; a Soros Equality Fellowship; a Lucas Artists fellowship; a Creative Capital grant; a Bell Labs artist residency; a Blade of Grass fellowship; and a Data & Society fellowship. == Media coverage == Dinkins appeared in episode six of the HBO television series Random Acts of Flyness directed by Terence Nance, where she described her conversations with BINA48. == Other activities == Dinkins was part of the juries that selected Shu Lea Cheang for the LG Guggenheim Award in 2024.