SF8 (Korean: 에스 에프 에잇) is a South Korean science fiction anthology television series. It is a movie-drama crossover project between MBC, the Directors Guild of Korea, the OTT platform Wavve and the production company Soo Film. The director's cuts of all episodes were released on Wavve on July 10, 2020 while MBC TV aired one episode a week from August 14 to October 9, 2020. The series has been regarded as a Korean equivalent of the British series Black Mirror as they have the same format and similar themes, though Min Kyu-dong believes that SF8 is more diversified since eight different filmmakers were involved in the project. SF8 was screened at the 24th Bucheon International Fantastic Film Festival. == Synopsis == SF8 revolves around people who dream of a perfect society. It tackles the themes of artificial intelligence, augmented reality, virtual reality, robots, games, fantasy, horror, superpowers and disasters. == Episodes == Short summaries adapted from BiFan. == Production == === Development === Min Kyu-dong, creator of the series, said that "sci-fi movies were the driving force behind many movie directors' dreams. Unfortunately, due to the relatively high budget and narrow market limitations, various works were not able to be produced." He had been working on this project for two years before he partnered with Wavve and MBC. He also took charge of casting the actors, which lasted for a year. During a press conference held at CGV Yongsan I'Park Mall in Seoul on July 8, 2020, Min Kyu-dong said that all the episodes were produced with an equal amount of budget and that the overall budget was lower than one of a small commercial film. Roh Deok, who co-wrote and directed the "Manxin" episode, mentioned that "while commercial film productions [...] inevitably limit the directors' freedom as a creator, [they] had more independence in production" and "although there were physical limits, [he] thinks [they] went through the process of discovering what [they] can do inside those boundaries." === Filming === Eight directors from the Directors Guild of Korea (DGK) each directed an episode from the series. Filming began on February 21, 2020 with Jang Cheol-soo's "White Crow" and ended on May 7 with Kim Ui-seok's "Empty Body". Filming was completed within 10 filming sessions for each episode. === Credits === Credits adapted from BiFan. == Release == The director's cut was released on the OTT platform Wavve on July 10, 2020 and the original episodes were aired on MBC TV from August 14 to October 9.
Focus recovery based on the linear canonical transform
For digital image processing, the Focus recovery from a defocused image is an ill-posed problem since it loses the component of high frequency. Most of the methods for focus recovery are based on depth estimation theory. The Linear canonical transform (LCT) gives a scalable kernel to fit many well-known optical effects. Using LCTs to approximate an optical system for imaging and inverting this system, theoretically permits recovery of a defocused image. == Depth of field and perceptual focus == In photography, depth of field (DOF) means an effective focal length. It is usually used for stressing an object and deemphasizing the background (and/or the foreground). The important measure related to DOF is the lens aperture. Decreasing the diameter of aperture increases focus and lowers resolution and vice versa. == The Huygens–Fresnel principle and DOF == The Huygens–Fresnel principle describes diffraction of wave propagation between two fields. It belongs to Fourier optics rather than geometric optics. The disturbance of diffraction depends on two circumstance parameters, the size of aperture and the interfiled distance. Consider a source field and a destination field, field 1 and field 0, respectively. P1(x1,y1) is the position in the source field, P0(x0,y0) is the position in the destination field. The Huygens–Fresnel principle gives the diffraction formula for two fields U(x0,y0), U(x1,y1) as following: U ( x 0 , y 0 ) = 1 j λ ∫ ∫ U ( x 1 , y 1 ) e j k r 01 r 01 cos θ d x 1 d y 1 {\displaystyle \mathbf {U} (x_{0},y_{0})={\frac {1}{j\lambda }}\int \!\int \mathbf {U} (x_{1},y_{1}){\frac {e^{jkr_{01}}}{r_{01}}}\cos \theta dx_{1}dy_{1}} where θ denotes the angle between r 01 {\displaystyle r_{01}} and z {\displaystyle z} . Replace cos θ by r 01 z {\displaystyle {\frac {r_{01}}{z}}} and r 01 {\displaystyle r_{01}} by [ ( x 0 − x 1 ) 2 + ( y 0 − y 1 ) 2 + z 2 ] 1 / 2 {\displaystyle [(x_{0}-x_{1})^{2}+(y_{0}-y_{1})^{2}+z^{2}]^{1/2}} we get U ( x 0 , y 0 ) = 1 j λ z ∫ ∫ U ( x 1 , y 1 ) exp ( j k z [ 1 + ( x 0 − x 1 z ) 2 + ( y 0 − y 1 z ) 2 ] 1 / 2 ) 1 + ( x 0 − x 1 z ) 2 + ( y 0 − y 1 z ) 2 d x 1 d y 1 {\displaystyle \mathbf {U} (x_{0},y_{0})={\frac {1}{j\lambda z}}\int \!\int \mathbf {U} (x_{1},y_{1}){\frac {\exp(jkz[1+({\frac {x_{0}-x_{1}}{z}})^{2}+({\frac {y_{0}-y_{1}}{z}})^{2}]^{1/2})}{1+({\frac {x_{0}-x_{1}}{z}})^{2}+({\frac {y_{0}-y_{1}}{z}})^{2}}}dx_{1}dy_{1}} The further distance z or the smaller aperture (x1,y1) causes a greater diffraction. A larger DOF can lead to a more effective focused wave distribution. This seems to be a conflict. Here are the notations: Diffraction In a real imaging environment, the depths of objects comparing to the aperture are usually not enough to lead to serious diffraction. However, a long enough depth of the object can truly blurs the image. Effective Focus Small aperture, small blurring radius, few wave information. Loses details in comparing to a large aperture. In conclusion, diffraction explains a micro behavior whereas DOF shows a macro behavior. Both of them are related to aperture size. == Linear canonical transform == As the meaning of "canonical", the linear canonical transform (LCT) is a scalable transform that connects to many important kernels such as the Fresnel transform, Fraunhofer transform and the fractional Fourier transform. It can be easily controlled by its four parameters, a, b, c, d (3 degrees of freedom). The definition: L M ( f ( u ) ) = ∫ L M ( u , u ′ ) f ( u ′ ) d u ′ {\displaystyle L_{M}(f(u))=\int L_{M}(u,u')f(u')du'} where L M ( u , u ′ ) = { 1 b e − j π / 4 e [ j π ( d b u 2 ) − 2 1 b u u ′ + a b u ′ 2 ] , if b ≠ 0 d e j 2 c d u 2 δ ( u ′ − d u ) , if b = 0 {\displaystyle L_{M}(u,u')={\begin{cases}{\sqrt {\frac {1}{b}}}e^{-j\pi /4}e^{[j\pi ({\frac {d}{b}}u^{2})-2{\frac {1}{b}}uu'+{\frac {a}{b}}u'^{2}]},&{\mbox{if }}b\neq 0\\{\sqrt {d}}e^{{\frac {j}{2}}cdu^{2}}\delta (u'-du),&{\mbox{if }}b=0\end{cases}}} Consider a general imaging system with object distance z0, focal length of the thin lens f and an imaging distance z1. The effect of the propagation in freespace acts as nearly a chirp convolution, that is, the formula of diffraction. Besides, the effect of the propagation in thin lens acts as a chirp multiplication. The parameters are all simplified as paraxial approximations while meeting the freespace propagation. It does not consider aperture size. From the properties of the LCT, it is possible to obtain those 4 parameters for this optical system as: [ 1 − z 1 f λ z 0 − λ z 0 z 1 f + λ z 1 − 1 λ f 1 − z 0 f ] {\displaystyle {\begin{bmatrix}1-{\frac {z_{1}}{f}}\quad &\lambda z_{0}-{\frac {\lambda z_{0}z_{1}}{f}}+\lambda z_{1}\\-{\frac {1}{\lambda f}}\quad &1-{\frac {z_{0}}{f}}\end{bmatrix}}} Once the values of z1, z0 and f are known, the LCT can simulate any optical system.
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."
Global Artificial Intelligence Summit & Awards
The Global Artificial Intelligence Summit & Awards (GAISA) is an international conference on Artificial Intelligence organized annually by AICRA. Since its inception in 2019, GAISA has been held at various locations each year. The 5th Edition of GAISA will be Scheduled on April 11-12, 2024, at Bharat Mandapam. GAISA 2025 features a distinguished lineup of speakers, including leading experts, researchers, and executives from top global tech companies. These thought leaders are at the forefront of AI innovation, with deep expertise in areas such as machine learning, robotics, and ethical AI. Their diverse backgrounds span academia, industry, and entrepreneurship, offering unique insights into how AI is reshaping sectors like healthcare, finance, transportation, and more. Attendees can expect thought-provoking discussions on the future of AI, its societal impact, and the transformative potential of emerging technologies in solving complex global challenges Few Speakers are listed below:- Shri Nitin Gadkari, Rao Inderjit Singh, Piyush Goyal, Admiral R Hari Kumar PVSM, AVSM, ADC, Samir V Kamat, Narayan Tatu Rane, Prof. K. Vijay Raghavan and many others. == History == The conference was launched first in 2019 as Vigyan Bhawan New Delhi by AICRA with an objective of discussion and exploring artificial intelligence in engrossed sectors.
The Raimones
The Raimones (stylized as THE RAiMONES) is a 2017 generative music project that utilized artificial intelligence to compose music in the style of the American punk rock band The Ramones. Developed by Matthias Frey, a researcher at Sony CSL Tokyo, the project was an early experiment in applying deep learning to high-energy, minimalist musical genres. == Technical Development == The project utilized Long short-term memory (LSTM) recurrent neural networks to generate musical structures and lyrics. The model was trained on a dataset consisting of 130 Ramones songs in MIDI format and the band's complete lyrical catalog. The technical framework was built using Python and Jupyter Notebook, drawing influence from the character-level RNN text generation models popularized by Andrej Karpathy. Unlike contemporary AI music projects that focused on the harmonic complexities of classical or pop music, THE RAiMONES sought to determine if neural networks could replicate the "1-2-3-4" rhythmic consistency and formulaic nature of early punk. == "I'm Alive" == The primary output of the project was the song "I'm Alive," released in 2017. The work is described as a form of "augmented intelligence," a hybrid approach where the AI provides the compositional foundation and human musicians handle the arrangement and performance. The song was recorded by the musician Mr. Ratboy (Gilbert Avondet). Avondet's involvement provided a stylistic link to the subject material, as he had previously served as a touring guitarist for Marky Ramone and the Intruders in 1996. The project's discography has since been made available on major streaming platforms, including Apple Music. == Reception and Significance == The project has been cited as a "proof of concept" for AI's ability to tackle "noisy" and aggressive aesthetics. In 2019, the Belgian magazine Knack Focus profiled the project alongside other AI pioneers such as Holly Herndon, noting the project's attempt to recreate the sound of "deceased legends" while maintaining a distinct, machine-like quality. It has also been featured in academic settings, such as at UC Santa Cruz, as a case study for AI-driven genre mimicry.
N-jet
An N-jet is the set of (partial) derivatives of a function f ( x ) {\displaystyle f(x)} up to order N. Specifically, in the area of computer vision, the N-jet is usually computed from a scale space representation L {\displaystyle L} of the input image f ( x , y ) {\displaystyle f(x,y)} , and the partial derivatives of L {\displaystyle L} are used as a basis for expressing various types of visual modules. For example, algorithms for tasks such as feature detection, feature classification, stereo matching, tracking and object recognition can be expressed in terms of N-jets computed at one or several scales in scale space.
Someday (short story)
"Someday" is a science fiction short story by American writer Isaac Asimov. It was first published in the August 1956 issue of Infinity Science Fiction and reprinted in the collections Earth Is Room Enough (1957), The Complete Robot (1982), Robot Visions (1990), and The Complete Stories, Volume 1 (1990). == Plot summary == The story is set in a future where computers play a central role in organizing society. Humans are employed as computer operators, but they leave most of the thinking to machines. Indeed, whilst binary programming is taught at school, reading and writing have become obsolete. The story concerns a pair of boys who dismantle and upgrade an old Bard, a child's computer whose sole function is to generate random fairy tales. The boys download a book about computers into the Bard's memory in an attempt to expand its vocabulary, but the Bard simply incorporates computers into its standard fairy tale repertoire. The story ends with the boys excitedly leaving the room after deciding to go to the library to learn "squiggles" (writing) as a means of passing secret messages to one another. As they leave, one of the boys accidentally kicks the Bard's on switch. The Bard begins reciting a new story about a poor mistreated and often ignored robot called the Bard, whose sole purpose is to tell stories, which ends with the words: "the little computer knew then that computers would always grow wiser and more powerful until someday—someday—someday—…"