Ontology merging defines the act of bringing together two conceptually divergent ontologies or the instance data associated to two ontologies. This is similar to work in database merging (schema matching). This merging process can be performed in a number of ways, manually, semi automatically, or automatically. Manual ontology merging although ideal is extremely labour-intensive and current research attempts to find semi or entirely automated techniques to merge ontologies. These techniques are statistically driven often taking into account similarity of concepts and raw similarity of instances through textual string metrics and semantic knowledge. These techniques are similar to those used in information integration employing string metrics from open source similarity libraries.
PARRY
PARRY was an early example of a chatbot, implemented in 1972 by psychiatrist Kenneth Colby. == History == PARRY was written in 1972 by psychiatrist Kenneth Colby, then at Stanford University. While ELIZA was a simulation of a Rogerian therapist, PARRY attempted to simulate a person with paranoid schizophrenia. The program implemented a crude model of the behavior of a person with paranoid schizophrenia based on concepts, conceptualizations, and beliefs (judgements about conceptualizations: accept, reject, neutral). It also embodied a conversational strategy, and as such was a much more serious and advanced program than ELIZA. It was described as "ELIZA with attitude". PARRY was tested in the early 1970s using a variation of the Turing Test. A group of experienced psychiatrists analysed a combination of real patients and computers running PARRY through teleprinters. Another group of 33 psychiatrists were shown transcripts of the conversations. The two groups were then asked to identify which of the "patients" were human and which were computer programs. The psychiatrists were able to make the correct identification only 48 percent of the time — a figure consistent with random guessing. PARRY and ELIZA (also known as "the Doctor") interacted several times. The most famous of these exchanges occurred at the ICCC 1972, where PARRY and ELIZA were hooked up over ARPANET and responded to each other.
Eden: It's an Endless World!
Eden: It's an Endless World!, also known simply as Eden (stylized in all caps), is a Japanese science fiction manga series written and illustrated by Hiroki Endo. It was serialized in Kodansha's seinen manga magazine Monthly Afternoon from September 1997 to June 2008, with its chapters collected in 18 tankōbon volumes. == Premise == The story is set in the near future, following the "closure virus" pandemic has killed 15 percent of the world's population, crippled or disfigured many more, with catastrophic effect on global politics. Its themes and many character names are taken from Gnostic mythology. == Plot == The series begins with a long introduction, with the characters Ennoia and Hannah living a peaceful life on a remote and isolated island called Eden, with researcher Lane Morris, who is their guardian and a victim of the pandemic. The events that led to this situation are revealed in flashbacks, leading up to the return of Ennoia's father, along with the forces of the Propater Federation. Following this, the story moves forwards twenty years, and focuses on Ennoia's son, Elijah, the main character, and his own conflict with the powerful and monopolistic Propater federation to save his sister, Mana Ballard, kidnapped by Propater when he was very young. She is being held to threaten Ennoia Ballard, father of the two characters, who has become a powerful drug lord in South America, feared and despised by many, including, to an extent, his own family. During a terrorist attack, Elijah, aged 15, is separated from his mother and his sister is kidnapped, along with his mother Hannah and now has to handle things on his own. Eden is about his coming-of-age as a man and trying to survive both bodily and morally in world that is too complex for mere "black and white". He encounters many other characters, both allies and enemies, all sharing the same struggle to survive in a post-apocalyptic dystopian world. Many stories are included of the people Elijah meets, telling their past or following life, sometimes volumes later, furthering understanding of the characters and giving increased depth to the world of the book as a whole. Later in the series, the story once again moves forwards in time, jumping four more years ahead. The Closure Virus, the cause of the original pandemic, mutates, this time assimilating non-organic matter as well as organic, known as "colloid" (or "Disclosure Virus"). The story rejoins Elijah, now 19 years old, as well as many other old characters, and some new, as the world begins to deal with this new threat that is swallowing many cities in the world, leaving lakes and craters, and many people. It is later discovered that the several colloids in the world, are linked with a net of underground auto-built "cables," and that the colloid itself, stores all the memories of the people it swallows. == Characters == Elijah Ballard (エリヤ・バラード, Eriya Barādo) Elijah is introduced while on the run from Propater. He becomes involved in his father's criminal activities, and undergoes a coming of age into adulthood. Ennoia Ballard (エンノイア・バラード, Ennoia Barādo) Elijah's father. Hannah Mayall (ハナ・メイオール, Hana Meiōru) Elijah's mother. Mana Ballard (マナ・バラード, Mana Barādo) Elijah's sister, who remains in Propater hands whilst her mother is rescued. Elijah's fight to free her is a focus of the later parts of the story. Nazarbaiev Khan (ナザルバイエフ・カーン, Nazarubaiefu Kān) Colonel Khan is an old soldier from Azerbaijan. He leads the Nomad group (including Kenji and Sophia) fleeing Propater at the start of the series. Khan became Kenji's mentor after killing his brother, and the two share a slightly strained, but at the same time, trusting, relationship. Sophia Theódores (ソフィア・テオドレス, Sofia Teodoresu) A powerful Greek computer hacker, and full-body cyborg. Maya (マーヤ, Māya) A nearly godlike AI, which seems to roughly correspond to the savior of Gnostic mythology. Kenji Asai (ケンジ・アサイ) The brother of a low-level yakuza boss. Helena Montoya (ヘレナ・モントーヤ, Herena Montōya) A prostitute now working in a brothel. Has a complex relationship with Elijah and acts as a surrogate big sister. == Media == === Manga === Eden: It's an Endless World! was written and illustrated by Hiroki Endo. The series ran in Kodansha's Monthly Afternoon magazine from September 25, 1997, to June 25, 2008. Kodansha collected its chapters into 18 tankōbon volumes, released from April 21, 1998, to July 23, 2008. In July 2005, Dark Horse Comics announced in San Diego Comic-Con that it has licensed Eden for North American distribution, with publication to begin in November of that year. As of March 2014, 14 volumes were released in total. ==== Volumes ==== == Reception == Eden was named Wizard magazine's best manga of 2007. In his review of another work by Hiroki Endo titled Hiroki Endo's Tanpenshu, David F. Smith of Newtype USA has called Eden one of the best manga American money can buy.
Willy's Chocolate Experience
Willy's Chocolate Experience was an unlicensed event based on Charlie and the Chocolate Factory that took place in Glasgow, Scotland, in February 2024. The event was promoted as an immersive and interactive family experience, illustrated on a promotional website with "dreamlike" AI-generated images. Once it was discovered that the event was held in a sparsely decorated warehouse, many customers complained, and the police were called to the venue. The event went viral on the Internet and attracted worldwide media attention. The event drew comparisons to the 2008 Lapland New Forest controversy, the 2014 Tumblr fan convention DashCon, and Billy McFarland's 2017 Fyre Festival. == Background and advertising == The event was stated to take place over the weekend of 24–25 February 2024. Promotional material advertised "stunning and intricately designed settings inspired by Roald Dahl's timeless tale" and "an array of delectable treats scattered throughout the experience". Both the website and promotional material used poor-quality AI-generated images, which included several spelling errors such as "cartchy tuns" and "a pasadise of sweet teats" and nonsensical words such as "catgacating" and "exarserdray". Tickets cost up to £35 per person. While the event was being promoted in early February, a Reddit user who saw Facebook advertisements suspected it to be a scam and was surprised that people were apparently buying tickets based solely on AI-generated images. The event was organised by House of Illuminati, a company registered to Billy Coull which claimed to offer "unparalleled immersive experiences". An investigation by Third Force News conducted after the event described Coull's previous "murky involvement in the charity sector." Coull had previously registered several other companies and claimed to work as a "consultant" for the now-defunct brand Empowerity, formerly known as the charity Gowanbank Community Hub. In 2021, Gowanbank was forced to remove claims of a £95-per-ticket fundraising "gala" at DoubleTree Glasgow which had been falsely advertised to feature TV personalities and performers including Gok Wan and Joe Black. Coull had claimed to be a doctor with a fake degree from a false university that provided "metaphysical degrees", and had attempted to use the charity to win the 2022 Glasgow City Council election in the seat of Greater Pollok, though he never registered for the election. In the summer of 2023, he independently published 17 AI-generated books on various topics, including vaccine conspiracy theories. Rolling Stone concluded that House of Illuminati's websites and event descriptions were likely written by an AI chatbot, such as ChatGPT. Three actors were hired to portray "Willy McDuff", a character based on Willy Wonka. One of them, Paul Connell, said that the cast were given one day to learn the script. Another actor playing Willy McDuff was 18-year-old Michael Archibald; the experience was his first ever acting job, and he was given the script at 6 pm on Friday before the event began on Saturday. Kirsty Paterson, an actress who played one of the Oompa-Loompas (called "Wonkidoodles" in the script), said that the job offer had been posted on Indeed.com and offered £500 for two days of work. The day before the event, the actors attended a dress rehearsal at the sparsely decorated venue. They were told that others would be working through the night on the production. When they returned on the day of the event, the venue was in the same condition. Paterson was given her costume an hour before the event opened, saying that "We were just handed an Amazon box that probably arrived that morning." == Script == The script for the event is titled Wonkidoodles at McDuff's Chocolate Factory: A Script, and describes Willy McDuff leading an audience through the Garden of Enchantment and the Twilight Tunnel. Once there, they are confronted by a character called The Unknown, described as "an evil chocolate maker who lives in the walls" who seeks to steal the magical "Anti-Graffiti Gobstopper" from McDuff's Imagination Lab. The gobstopper is "a sweet so powerful, it can make any room sparkle without lifting a finger". McDuff defeats The Unknown by amplifying the power of the gobstopper and causing his enemy to be "gently swept up by a robotic vacuum, humorously ending the confrontation". The script was unusual in that it included stage directions for the audience, and descriptions of their reactions. Connell described it as "15 pages of AI-generated gibberish of me just monologuing these mad things", and compared the vacuum cleaner plot point to that of the Nintendo video game Luigi's Mansion. Interviewed after the event, Coull claimed to have written the script himself, using AI only to "check spelling, grammar, and continuity" as he said he had dyslexia. == Event == The event was held at the Box Hub Warehouse event space in Whiteinch, an industrial area of Glasgow. Customers described the venue as "little more than an abandoned, empty warehouse", with set dressings including a small bouncy castle, AI-generated backdrop images pinned to some of the walls, and props which were "strewn about on bare concrete floors". The venue's windows were dirty and its air conditioning systems were left exposed. Paterson has stated that by the time she saw the venue, she had already signed her contract and "didn't want to disappoint the kids", and thus chose to proceed with the work. The Unknown was played by a 16-year-old actress named Felicia Dawkins, who wore a silver mask and a black cloak. Young children were frightened by the character, who appeared from behind a large rectangular mirror. Despite the script calling for The Unknown to be defeated with a vacuum cleaner, no such prop was provided, and actors were instead asked to improvise. Connell said that he and other employees were told to give each child "two jelly beans and a quarter of a cup of lemonade", although the limited supply of jelly beans quickly ran out. Paterson and another "Wonkidoodle" actress, Jenny Fogarty, said that after the first three 45-minute performances, the cast were told to abandon the script and instead let guests walk through the venue, a process that Paterson said took "about two minutes". The character of The Unknown, previously introduced as the main antagonist, was now "scaring children for no reason". One of the actors playing McDuff improvised the idea that children should pull a "silly face" at The Unknown to scare them away, but Dawkins said that, in other cases, she "just had to awkwardly walk back to my corner". Connell was told he would be given a 15-minute break every 45 minutes, but on the day of the event, he played Willy McDuff for three and a half hours without a break. After returning from a lunch break, Connell encountered a crowd of customers demanding refunds from Coull, and the other actors were unsure what to do next. After being told that the event was now cancelled halfway through its opening day, the actors left and went to a pub. Upon returning to the venue some time later, Connell said that he felt "the threat of violence had become quite high" and that there were two police vans and two squad cars at the scene. == Customer reviews and response == Willy's Chocolate Experience was widely criticised by those who attended it, many of whom demanded refunds. One customer, who had driven with his children for two hours to reach the event, described it as an "absolute con". Other visitors who arrived after the event was closed and were not informed of its cancellation requested compensation for wasted rail fares. Following the event's cancellation, Coull offered to refund 850 people, a statement repeated by the event's Facebook page. Some Facebook users stated that they had received their money back. Paterson and Fogarty stated that they only received half of their paycheque. Box Hub, the organisation that had rented the warehouse to House of Illuminati, issued an apology on House of Illuminati's behalf, stating that they "either have no regards for the families and young children they have disappointed or are too embarrassed to comment", and offered to provide a venue free of charge for those who attended the event. House of Illuminati later stated that they would not host any future events. Coull deleted his LinkedIn profile, his YouTube channel, and his personal website in response to the controversy. A few days after the event, Connell said he felt that Coull was "probably one of the most disliked people in Glasgow right now". In an interview with The Sunday Times, Coull apologised for how the event turned out, saying he would accept responsibility. == Fundraising == In an interview with Wired magazine, Connell stated that he and the other actors were working with parents to provide a free show for the children who attended. Some items from the event were later auctioned for charity. The venue auctioned the leftover hand-written "even
Legal Knowledge Interchange Format
The Legal Knowledge Interchange Format (LKIF) was developed in the European ESTRELLA project and was designed with the goal of becoming a standard for representing and interchanging policy, legislation and cases, including their justificatory arguments, in the legal domain. LKIF builds on and uses the Web Ontology Language (OWL) for representing concepts and includes a reusable basic ontology of legal concepts. The core of LKIF consists of a combination of OWL-DL and SWRL. LKIF was designed with two main roles in mind: the translation of legal knowledge bases written in different representation formats and formalisms and to be a knowledge representation formalism which could be part of larger architectures for developing legal knowledge systems.
Transderivational search
Transderivational search (often abbreviated to TDS) is a psychological and cybernetics term, meaning when a search is being conducted for a fuzzy match across a broad field. In computing the equivalent function can be performed using content-addressable memory. Unlike usual searches, which look for literal (i.e. exact, logical, or regular expression) matches, a transderivational search is a search for a possible meaning or possible match as part of communication, and without which an incoming communication cannot be made any sense of whatsoever. It is thus an integral part of processing language, and of attaching meaning to communication. In NLP (Neuro-linguistic programming), a transderivational search (Bandler and Grinder, 1976) is essentially the process of searching back through one's stored memories and mental representations to find the personal reference experiences from which a current understanding or mental map has been derived. By the end of 1976, Grinder and Bandler had combined Satir’s and Perls’ language patterns and Erickson’s hypnotic language and use of metaphor with anchoring to create new processes that they called collapsing anchors, trans-derivational search, changing personal history, and reframing. A psychological example of TDS is in Ericksonian hypnotherapy, where vague suggestions are used that the patient must process intensely in order to find their own meanings, thus ensuring that the practitioner does not intrude his own beliefs into the subject's inner world. == TDS in human communication and processing == Because TDS is a compelling, automatic and unconscious state of internal focus and processing (i.e. a type of everyday trance state), and often a state of internal lack of certainty, or openness to finding an answer (since something is being checked out at that moment), it can be utilized or interrupted, in order to create, or deepen, trance. TDS is a fundamental part of human language and cognitive processing. Arguably, every word or utterance a person hears, for example, and everything they see or feel and take note of, results in a very brief trance while TDS is carried out to establish a contextual meaning for it. === Examples === Leading statements: "And those thoughts you had yesterday..." the human mind cannot process hearing this phrase, without at some level searching internally for some thoughts or other that it had yesterday, to make the subject of the sentence. "The many colors that fruit can be" likewise starts the human mind considering even if briefly, different fruit sorted by color. "You did it again, didn't you!" This everyday manipulative use of TDS usually sends the recipient looking internally for some "it" they may have done for which blame is being fairly given. Regardless of whether such a matter can be identified, guilt or anger may result. "There has been pain, hasn't there" the mind of a patient suffering an illness will find it very hard or impossible to hear or answer this sentence without conducting internal searches to verify whether this is true or not, or to find an example if so. "You'd forgotten something [or: some part of your body], hadn't you?" the mind usually checks through the various things, or parts of the body, on hearing this, seeing if each in turn has been forgotten. Textual ambiguity: "Do you remember line dancing on the steps?" Without sufficient context, some statements may trigger TDS in order to resolve inherent ambiguity in the interpretation of a posed question. Do I remember a bygone fad called "line dancing on the steps"? Do I remember personally engaging in dancing in the past? Do I remember my routine practice dancing by focusing on the steps of the dance? Do I tend to forget about dancing when I am standing on steps? "Penny-wise and pound the table dance to the beat of a different drummer". The mixing of cliché and stock phrases may trigger TDS in order to reconcile the discrepancies between expected and actual utterances in sequence. Although TDS is often associated with spoken language, it can be induced in any perceptual system. Thus Milton Erickson's "hypnotic handshake" is a technique that leaves the other person performing TDS in search of meaning to a deliberately ambiguous use of touch.
AI art
Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa