The inductive bias (also known as learning bias) of a learning algorithm is the set of assumptions that the learner uses to predict outputs of given inputs that it has not encountered. Inductive bias is anything which makes the algorithm learn one pattern instead of another pattern (e.g., step-functions in decision trees instead of continuous functions in linear regression models). Learning involves searching a space of solutions for a solution that provides a good explanation of the data. However, in many cases, there may be multiple equally appropriate solutions. An inductive bias allows a learning algorithm to prioritize one solution (or interpretation) over another, independently of the observed data. In machine learning, the aim is to construct algorithms that are able to learn to predict a certain target output. To achieve this, the learning algorithm is presented some training examples that demonstrate the intended relation of input and output values. Then the learner is supposed to approximate the correct output, even for examples that have not been shown during training. Without any additional assumptions, this problem cannot be solved since unseen situations might have an arbitrary output value. The kind of necessary assumptions about the nature of the target function are subsumed in the phrase inductive bias. A classical example of an inductive bias is Occam's razor, assuming that the simplest consistent hypothesis about the target function is actually the best. Here, consistent means that the hypothesis of the learner yields correct outputs for all of the examples that have been given to the algorithm. Approaches to a more formal definition of inductive bias are based on mathematical logic. Here, the inductive bias is a logical formula that, together with the training data, logically entails the hypothesis generated by the learner. However, this strict formalism fails in many practical cases in which the inductive bias can only be given as a rough description (e.g., in the case of artificial neural networks), or not at all. == Types == The following is a list of common inductive biases in machine learning algorithms. Maximum conditional independence: if the hypothesis can be cast in a Bayesian framework, try to maximize conditional independence. This is the bias used in the Naive Bayes classifier. Minimum cross-validation error: when trying to choose among hypotheses, select the hypothesis with the lowest cross-validation error. Although cross-validation may seem to be free of bias, the "no free lunch" theorems show that cross-validation must be biased, for example assuming that there is no information encoded in the ordering of the data. Maximum margin: when drawing a boundary between two classes, attempt to maximize the width of the boundary. This is the bias used in support vector machines. The assumption is that distinct classes tend to be separated by wide boundaries. Minimum description length: when forming a hypothesis, attempt to minimize the length of the description of the hypothesis. Minimum features: unless there is good evidence that a feature is useful, it should be deleted. This is the assumption behind feature selection algorithms. Nearest neighbors: assume that most of the cases in a small neighborhood in feature space belong to the same class. Given a case for which the class is unknown, guess that it belongs to the same class as the majority in its immediate neighborhood. This is the bias used in the k-nearest neighbors algorithm. The assumption is that cases that are near each other tend to belong to the same class. == Shift of bias == Although most learning algorithms have a static bias, some algorithms are designed to shift their bias as they acquire more data. This does not avoid bias, since the bias shifting process itself must have a bias.
Image scaling
In computer graphics and digital imaging, image scaling is the resizing of a digital image. In video technology, the magnification of digital material is known as upscaling or resolution enhancement. When scaling a vector graphic image, the graphic primitives that make up the image can be rendered using geometric transformations at any resolution with no loss of image quality. When scaling a raster graphics image, a new image with a higher or lower number of pixels must be generated. In the case of decreasing the pixel number (scaling down), this usually results in a visible quality loss. From the standpoint of digital signal processing, the scaling of raster graphics is a two-dimensional example of sample-rate conversion, the conversion of a discrete signal from a sampling rate (in this case, the local sampling rate) to another. == Mathematical == Image scaling can be interpreted as a form of image resampling or image reconstruction from the view of the Nyquist sampling theorem. According to the theorem, downsampling to a smaller image from a higher-resolution original can only be carried out after applying a suitable 2D anti-aliasing filter to prevent aliasing artifacts. The image is reduced to the information that can be carried by the smaller image. In the case of up sampling, a reconstruction filter takes the place of the anti-aliasing filter. A more sophisticated approach to upscaling treats the problem as an inverse problem, solving the question of generating a plausible image that, when scaled down, would look like the input image. A variety of techniques have been applied for this, including optimization techniques with regularization terms and the use of machine learning from examples. == Algorithms == An image size can be changed in several ways. === Nearest-neighbor interpolation === One of the simpler ways of increasing image size is nearest-neighbor interpolation, replacing every pixel with the nearest pixel in the output; for upscaling, this means multiple pixels of the same color will be present. This can preserve sharp details but also introduce jaggedness in previously smooth images. 'Nearest' in nearest-neighbor does not have to be the mathematical nearest. One common implementation is to always round toward zero. Rounding this way produces fewer artifacts and is faster to calculate. This algorithm is often preferred for images which have little to no smooth edges. A common application of this can be found in pixel art. === Bilinear and bicubic interpolation === Bilinear interpolation works by interpolating pixel color values, introducing a continuous transition into the output even where the original material has discrete transitions. Although this is desirable for continuous-tone images, this algorithm reduces contrast (sharp edges) in a way that may be undesirable for line art. Bicubic interpolation yields substantially better results, with an increase in computational cost. === Sinc and Lanczos resampling === Sinc resampling, in theory, provides the best possible reconstruction for a perfectly bandlimited signal. In practice, the assumptions behind sinc resampling are not completely met by real-world digital images. Lanczos resampling, an approximation to the sinc method, yields better results. Bicubic interpolation can be regarded as a computationally efficient approximation to Lanczos resampling. === Box sampling === One weakness of bilinear, bicubic, and related algorithms is that they sample a specific number of pixels. When downscaling below a certain threshold, such as more than twice for all bi-sampling algorithms, the algorithms will sample non-adjacent pixels, which results in both losing data and rough results. The trivial solution to this issue is box sampling, which is to consider the target pixel a box on the original image and sample all pixels inside the box. This ensures that all input pixels contribute to the output. The major weakness of this algorithm is that it is hard to optimize. === Mipmap === Another solution to the downscale problem of bi-sampling scaling is mipmaps. A mipmap is a prescaled set of downscaled copies. When downscaling, the nearest larger mipmap is used as the origin to ensure no scaling below the useful threshold of bilinear scaling. This algorithm is fast and easy to optimize. It is standard in many frameworks, such as OpenGL. The cost is using more image memory, exactly one-third more in the standard implementation. === Fourier-transform methods === Simple interpolation based on the Fourier transform pads the frequency domain with zero components (a smooth window-based approach would reduce the ringing). Besides the good conservation (or recovery) of details, notable are the ringing and the circular bleeding of content from the left border to the right border (and the other way around). === Edge-directed interpolation === Edge-directed interpolation algorithms aim to preserve edges in the image after scaling, unlike other algorithms, which can introduce staircase artifacts. Examples of algorithms for this task include New Edge-Directed Interpolation (NEDI), Edge-Guided Image Interpolation (EGGI), Iterative Curvature-Based Interpolation (ICBI), and Directional Cubic Convolution Interpolation (DCCI). A 2013 analysis found that DCCI had the best scores in peak signal-to-noise ratio and structural similarity on a series of test images. === hqx === For magnifying computer graphics with low resolution and/or few colors (usually from 2 to 256 colors), better results can be achieved by hqx or other pixel-art scaling algorithms. These produce sharp edges and maintain a high level of detail. === Vectorization === Vector extraction, or vectorization, offers another approach. Vectorization first creates a resolution-independent vector representation of the graphic to be scaled. The resulting SVG vector file can then be exported and rendered at any required resolution without quality loss, serving directly as production-ready artwork for scalable display & printing. This technique is used by Adobe Illustrator, Live Trace, and Inkscape. Scalable Vector Graphics are well suited to simple geometric images, while photographs do not fare well with vectorization due to their complexity. === Deep convolutional neural networks === This method uses machine learning for more detailed images, such as photographs and complex artwork. Programs that use this method include waifu2x, Imglarger and Neural Enhance. Demonstration of conventional vs. waifu2x upscaling with noise reduction, using a detail of Phosphorus and Hesperus by Evelyn De Morgan. [Click image for full size] AI-driven upscaling software allows detail and sharpness to be added to historical photographs, where it is not present in the original. The availability of AI upscaling tools has led to confusion where a person believes that the upscaled version of a blurry image is genuinely showing them the subject of the original photograph. In 2025 a user of the social media site X posted an AI-upscaled version of a low resolution photo of Donald Trump that they had zoomed in on, and asked if anyone could "explain what the hell is happening to his forehead". Experts noted that the image had been distorted by the upscaling process, and that such tools "inevitably have to invent, or at least recreate, details that were or were not there". == Applications == === General === Image scaling is used in, among other applications, web browsers, image editors, image and file viewers, software magnifiers, digital zoom, the process of generating thumbnail images, and when outputting images through screens or printers. === Video === This application is the magnification of images for home theaters for HDTV-ready output devices from PAL-Resolution content, for example, from a DVD player. Upscaling is performed in real time, and the output signal is not saved. === Pixel-art scaling === As pixel-art graphics are usually low-resolution, they rely on careful placement of individual pixels, often with a limited palette of colors. This results in graphics that rely on stylized visual cues to define complex shapes with little resolution, down to individual pixels. This makes scaling pixel art a particularly difficult problem. Specialized algorithms were developed to handle pixel-art graphics, as the traditional scaling algorithms do not take perceptual cues into account. Since a typical application is to improve the appearance of fourth-generation and earlier video games on arcade and console emulators, many are designed to run in real time for small input images at 60 frames per second. On fast hardware, these algorithms are suitable for gaming and other real-time image processing. These algorithms provide sharp, crisp graphics, while minimizing blur. Scaling art algorithms have been implemented in a wide range of emulators such as HqMAME and DOSBox, as well as 2D game engines and game engine recreations such as ScummVM. They gained recognition with game
Resisting AI
Resisting AI: An Anti-fascist Approach to Artificial Intelligence is a book on artificial intelligence (AI) by Dan McQuillan, published in 2022 by Bristol University Press. == Content == Resisting AI takes the form of an extended essay, which contrasts optimistic visions about AI's potential by arguing that AI may best be seen as a continuation and reinforcement of bureaucratic forms of discrimination and violence, ultimately fostering authoritarian outcomes. For McQuillan, AI's promise of objective calculability is antithetical to an egalitarian and just society. McQuillan uses the expression "AI violence" to describe how – based on opaque algorithms – various actors can discriminate against categories of people in accessing jobs, loans, medical care, and other benefits. The book suggests that AI has a political resonance with soft eugenic approaches to the valuation of life by modern welfare states, and that AI exhibits eugenic features in its underlying logic, as well as in its technical operations. The parallel is with historical eugenicists achieving saving to the state by sterilizing defectives so the state would not have to care for their offspring. The analysis of McQuillan goes beyond the known critique of AI systems fostering precarious labour markets, addressing "necropolitics", the politics of who is entitled to live, and who to die. Although McQuillan offers a brief history of machine learning at the beginning of the book – with its need for "hidden and undercompensated labour", he is concerned more with the social impacts of AI rather than with its technical aspects. McQuillan sees AI as the continuation of existing bureaucratic systems that already marginalize vulnerable groups – aggravated by the fact that AI systems trained on existing data are likely to reinforce existing discriminations, e.g. in attempting to optimize welfare distribution based on existing data patterns, ultimately creating a system of "self-reinforcing social profiling". In elaborating on the continuation between existing bureaucratic violence and AI, McQuillan connects to Hannah Arendt's concept of the thoughtless bureaucrat in Eichmann in Jerusalem: A Report on the Banality of Evil, which now becomes the algorithm that, lacking intent, cannot be accountable, and is thus endowed with an "algorithmic thoughtlessness". McQuillan defends the "fascist" in the title of the work by arguing that while not all AI is fascist, this emerging technology of control may end up being deployed by fascist or authoritarian regimes. For McQuillan, AI can support the diffusion of states of exception, as a technology impossible to properly regulate and a mechanism for multiplying exceptions more widely. An example of a scenario where AI systems of surveillance could bring discrimination to a new high is the initiative to create LGBT-free zones in Poland. Skeptical of ethical regulations to control the technology, McQuillan suggests people's councils and workers' councils, and other forms of citizens' agency to resist AI. A chapter titled "Post-Machine Learning" makes an appeal for resistance via currents of thought from feminist science (standpoint theory), post-normal science (extended peer communities), and new materialism; McQuillan encourages the reader to question the meaning of "objectivity" and calls for the necessity of alternative ways of knowing. Among the virtuous examples of resistance – possibly to be adopted by the AI workers themselves – McQuillan notes the Lucas Plan of the workers of Lucas Aerospace Corporation, in which a workforce declared redundant took control, reorienting the enterprise toward useful products. McQuillan advocates for what he calls decomputing, an opposition to the sweeping application and expansion of artificial intelligence. Similar to degrowth, the approach criticizes AI as an outgrowth of the systemic issues within capitalist systems. McQuillan argues that a different future is possible, in which distance between people is reduced rather than increased through AI intermediaries. The work of McQuillan warns against "watered-down forms of engagement" with AI, such as citizen juries, which superficially look like democratic deliberation but may actually obscure important decisions about AI that are outside the purview of the engagement situation (McQuillan 2022, 128). In an interview about the book, McQuillan describes himself as an "AI abolitionist". == Reception == The book has been praised for how it "masterfully disassembles AI as an epistemological, social, and political paradigm". On the critical side, a review in the academic journal Justice, Power and Resistance took exception to the "nightmarish visions of Big Brother" offered by McQuillan, and argued that while many elements of AI may pose concern, a critique should not be based on a caricature of what AI is, concluding that McQuillan's work is "less of a theory and more of a Manifesto". Another review notes "a disconnect between the technical aspects of AI and the socio-political analysis McQuillan provides." Although the book was published before the ChatGPT and large language model debate heated up, the book has not lost relevance to the AI discussion. It is noted for suggesting a link between beliefs in artificial intelligence and beliefs in a racialised and gendered visions of intelligence overall, whereby a certain type of rational, measurable intelligence is privileged, leading to "historical notions of hierarchies of being". The blog Reboot praised McQuillan for offering a theory of harm of AI (why AI could end up hurting people and society) that does not just encourage tackling in isolation specific predicted problems with AI-centric systems: bias, non-inclusiveness, exploitativeness, environmental destructiveness, opacity, and non-contestability. For educational policies could also look at AI following the reading of McQuillan: In his book Resisting AI, Dan McQuillan argues that "When we're thinking about the actuality of AI, we can't separate the calculations in the code from the social context of its application" .... McQuillan's particular concern is how many contemporary applications of AI are amplifying existing inequalities and injustices as well as deepening social divisions and instabilities. His book makes a powerful case for anticipating these effects and actively resisting them for the good of societies. Videos and podcasts with an interest in AI and emerging technology have discussed the book.
Computational humor
Computational humor is a branch of computational linguistics and artificial intelligence which uses computers in humor research. It is a relatively new area, with the first dedicated conference organized in 1996. The first "computer model of a sense of humor" was suggested by Suslov as early as 1992. Investigation of the general scheme of the information processing show a possibility of a specific malfunction, conditioned by the necessity of a quick deletion from consciousness of a false version. This specific malfunction can be identified with a humorous effect on the psychological grounds; however, an essentially new ingredient, a role of timing, is added to a well known role of ambiguity. In biological systems, a sense of humour inevitably develops in the course of evolution, because its biological function consists in quickening the transmission of processed information into consciousness and in a more effective use of brain resources. A realization of this algorithm in neural networks explains naturally the mechanism of laughter: deletion of a false version corresponds to zeroing of some part of the neural network and excessive energy of neurons is thrown out to the motor cortex, arousing muscular contractions. Unfortunately, a practical realization of this algorithm needs extensive databases, whose creation in the automatic regime was suggested only recently . As a result, this magistral direction was not developed properly and subsequent investigations (see below) accepted somewhat specialized colouring. == Joke generators == === Pun generation === An approach to analysis of humor is classification of jokes. A further step is an attempt to generate jokes basing on the rules that underlie classification. Simple prototypes for computer pun generation were reported in the early 1990s, based on a natural language generator program, VINCI. Graeme Ritchie and Kim Binsted in their 1994 research paper described a computer program, JAPE, designed to generate question-answer-type puns from a general, i.e., non-humorous, lexicon. (The program name is an acronym for "Joke Analysis and Production Engine".) Some examples produced by JAPE are: Q: What is the difference between leaves and a car? A: One you brush and rake, the other you rush and brake. Q: What do you call a strange market? A: A bizarre bazaar. Since then the approach has been improved, and the latest report, dated 2007, describes the STANDUP joke generator, implemented in the Java programming language. The STANDUP generator was tested on children within the framework of analyzing its usability for language skills development for children with communication disabilities, e.g., because of cerebral palsy. (The project name is an acronym for "System To Augment Non-speakers' Dialog Using Puns" and an allusion to standup comedy.) Children responded to this "language playground" with enthusiasm, and showed marked improvement on certain types of language tests. The two young people, who used the system over a ten-week period, regaled their peers, staff, family and neighbors with jokes such as: "What do you call a spicy missile? A hot shot!" Their joy and enthusiasm at entertaining others was inspirational. === Other === Stock and Strapparava described a program to generate funny acronyms. == Joke recognition == A statistical machine learning algorithm to detect whether a sentence contained a "That's what she said" double entendre was developed by Kiddon and Brun (2011). There is an open-source Python implementation of Kiddon & Brun's TWSS system. A program to recognize knock-knock jokes was reported by Taylor and Mazlack. This kind of research is important in analysis of human–computer interaction. An application of machine learning techniques for the distinguishing of joke texts from non-jokes was described by Mihalcea and Strapparava (2006). Takizawa et al. (1996) reported on a heuristic program for detecting puns in the Japanese language. == Applications == A possible application for assistance in language acquisition is described in the section "Pun generation". Another envisioned use of joke generators is in cases of a steady supply of jokes where quantity is more important than quality. Another obvious, yet remote, direction is automated joke appreciation. It is known that humans interact with computers in ways similar to interacting with other humans that may be described in terms of personality, politeness, flattery, and in-group favoritism. Therefore, the role of humor in human–computer interaction is being investigated. In particular, humor generation in user interface to ease communications with computers was suggested. Craig McDonough implemented the Mnemonic Sentence Generator, which converts passwords into humorous sentences. Based on the incongruity theory of humor, it is suggested that the resulting meaningless but funny sentences are easier to remember. For example, the password AjQA3Jtv is converted into "Arafat joined Quayle's Ant, while TARAR Jeopardized thurmond's vase," an example chosen by combining politicians names with verbs and common nouns. == Related research == John Allen Paulos is known for his interest in mathematical foundations of humor. His book Mathematics and Humor: A Study of the Logic of Humor demonstrates structures common to humor and formal sciences (mathematics, linguistics) and develops a mathematical model of jokes based on catastrophe theory. Conversational systems which have been designed to take part in Turing test competitions generally have the ability to learn humorous anecdotes and jokes. Because many people regard humor as something particular to humans, its appearance in conversation can be quite useful in convincing a human interrogator that a hidden entity, which could be a machine or a human, is in fact a human.
Ideonomy
Ideonomy is a combinatorial "science of ideas" developed by American independent scholar Patrick M. Gunkel (1947–2017). Specifically, Ideonomy is concerned with the systematic organization of ideas and the discovery of the rules behind how ideas combine, diverge, and transform. Gunkel defined ideonomy as "the science of the laws of ideas and of the application of such laws to the generation of all possible ideas in connection with any subject, idea, or thing." In his 1992 book A History of Knowledge, Charles Van Doren compared ideonomy to a "mining operation" that excavates meanings and thought to discover treasures hidden deep within language. Sources from the 1980s and 1990s demonstrate that ideonomy was useful to academic researchers in fields including biology, toxicology, and nursing/patient care. Beginning in the 2010s, academics in a wide range of fields including machine learning, marketing, computational modeling, and cybersecurity have relied on materials generated for ideonomy to provide methodological support for their research. == Etymology and definition == The word "ideonomy" combines the Greek roots ideo- (from idea, meaning pattern or form) and -nomy (from nomos, meaning law or custom). The suffix -nomy suggests the laws concerning or the totality of knowledge about a given subject, as in astronomy or taxonomy. In a note posted on the MIT ideonomy website, Gunkel states that the word was supposedly first coined by the French Encyclopedists to refer to a science of ideas. No evidence is provided for this statement, however. The concept bears some relationship to Antoine Destutt de Tracy's "ideology" (1796), which originally meant a systematic science of ideas before acquiring its modern political connotations. Gunkel provided several metaphorical descriptions of ideonomy: An "idea bank": a computer network enabling systematic exploration of infinite possible ideas A "kaleidoscope" that can exhibit all possible combinations and transformations of ideas A "prism" capable of diffracting any idea into its cognitive components A "gigantic microscope for magnifying the ideocosm" == History and development == In 1984, Gunkel received a five-year unsolicited grant from the Richard Lounsbery Foundation of New York to develop ideonomy. A June 1, 1987 article on the front page of The Wall Street Journal brought Gunkel and ideonomy to wider public attention. Some academics were interested in using ideonomy's techniques, including biologist Betsey Dyer, who published several contemporaneous peer-reviewed studies citing ideonomy. Academic researchers in the field of toxicology and nursing/patient care also used ideonomy. However, ideonomy's broadest contribution to date came beginning in the 2010s, as a list of personality traits generated for combinatorial matching was used by researchers in artificial intelligence to code human emotions for machine-learning tasks, develop computational models related to personality, develop a measurement framework for influencer-brand recommender systems, and aid information awareness/cybersecurity assessment. == Methodology == The foundational empirical method of ideonomy involves the systematic creation of extensive lists. Gunkel's apartment reportedly contained thousands of lists on every conceivable topic. Gunkel termed each list an "organon," which he described as expanding through "combination, permutation, transformation, generalization, specialization, intersection, interaction, reapplication, recursive use, etc. of existing organons." The ideonomic process follows a progressive structure. The ideonomist begins with a simple list of examples of a particular idea, concept, or thing. The list need not be exhaustive. By studying this list, the ideonomist isolates and identifies types. This categorical analysis then reveals missing items, allowing the primary list to be improved and refined. Gunkel emphasized that list items must not only cover genuine categories of nature but also be formulated in ways that yield the largest possible number of syntactically coherent possibilities when combined. The core technique of ideonomy is "ideocombinatorics"—the systematic intersection and combination of items from different lists to generate novel composite concepts. Gunkel developed computer programs to automate this process. For example, combining a list of 230 Universal Elementary Shapes (pits, pyramids, trenches, hemispheres, needles) with a list of 74 Types of Order (recurrence, identity, likeness of parts) yields 17,020 possible "shapes of order." These combinations, when phrased as questions ("Can there be pits of recurrence?"), could suggest new categories of phenomena worthy of investigation. The computer-generated output is typically repetitive and often meaningless. However, with sufficient frequency, the combinations yield results that are unexpectedly interesting and fruitful. In one documented case, Gunkel's programs generated 45,540 questions about toxins for microbiologist David Bermudes. One question—"Can hierarchies of cell process be used as a basis for classifying toxic action?"—prompted Bermudes to develop a novel approach to classifying biological toxins by the type of molecule they attack, rather than by chemical structure or physiological system affected. According to one contemporaneous account of ideonomy, "Gunkel takes for his field all fields and all ideas about anything. He uses a computer to generate lists of words and phrases and by juxtaposition reviews the resultant patterns for novel ideas. The computer is ideal for this task because the mind would rebel at the formidable processing task ideonomy involves. What we have here is computer generated originality." == Applications == Gunkel and his supporters identified several practical applications for ideonomic methods: Scientific research: Biologist Betsey Dyer of Wheaton College published research crediting ideonomy for helping to generate ideas. Medical science: When Austin pathologist Michael T. O'Brien was presented with the ideonomically-generated question "Can arteries have rashes?", he initially dismissed it as nonsense. Upon reflection, he realized that large arteries are supplied with blood by tiny vessels that might become inflamed and dilated, analogous to skin vessels in a rash—a phenomenon potentially worth researching. Analogical thinking: Harvard law professor Robert Clark used ideonomic analogies to write a research paper comparing plant structure with human hierarchies. Artificial intelligence: Douglas Lenat, a researcher at Microelectronics and Computer Technology Corporation (MCC) in Austin, suggested that Gunkel's lists enumerating types of human mistakes could help design AI systems capable of recognizing and correcting their own errors. == Reception and criticism == Ideonomy received mixed reactions from the academic and scientific communities. Prominent supporters included: Edward Fredkin, former director of MIT's computer science laboratory, who praised Gunkel's "provocative ideas on artificial intelligence." Marvin Minsky, AI scientist and MIT professor, who described ideonomy as "perhaps the most extensive study of ways to generate ideas." Frederick Seitz, president emeritus of Rockefeller University, who noted Gunkel's "encyclopedic scope" Robert C. Clark, Harvard law professor, who called Gunkel "the most intelligent person I ever met" However, skeptics questioned whether ideonomy constituted a genuine science. Fredkin himself noted that Gunkel "pours out about 60 ideas a minute, and 59 of them are bad," though he added that "even with one good idea out of 60, it's still an amazing accomplishment." Douglas Lenat observed that brainstorming with Gunkel was "a bit like being hit over the head by the muse with a sledgehammer" and that "he puts people off." Gunkel himself acknowledged that ideonomy was in its infancy and might seem "absurdly utopian." His planned magnum opus on ideonomy remained incomplete, and was posted on an MIT website thanks to faculty advisor Whitman Richards. Gunkel wrote: "Pioneering in a completely new field, yes in a new science, is almost unreal. It is heartbreaking, it is pitiable, it is almost inhuman. Honestly, it is a hell. There is nothing heroic about it." == Related concepts == Gunkel identified several historical precedents for ideonomic thinking: Gottfried Wilhelm Leibniz (1646–1716): The philosopher's work on a universal characteristic (characteristica universalis) and calculus of reasoning Peter Mark Roget (1779–1869): Creator of Roget's Thesaurus, which organized concepts into a systematic taxonomy Dmitri Mendeleev (1834–1907): Developer of the periodic table, demonstrating how combining lists of element families could reveal previously unseen connections Fritz Zwicky (1898–1974): The Caltech astrophysicist whom Gunkel called the "grandfather of ideonomy" for his development of "morphological research"—systematic exploration of all possible solutions t
Comparison of color models in computer graphics
This article provides introductory information about the RGB, HSV, and HSL color models from a computer graphics (web pages, images) perspective. An introduction to colors is also provided to support the main discussion. == Basics of color == === Primary colors and hue === First, "color" refers to the human brain's subjective interpretation of combinations of a narrow band of wavelengths of light. For this reason, the definition of "color" is not based on a strict set of physical phenomena. Therefore, even basic concepts like "primary colors" are not clearly defined. For example, traditional "Painter's Colors" use red, blue, and yellow as the primary colors, "Printer's Colors" use cyan, yellow, and magenta, and "Light Colors" use red, green, and blue. "Light colors", more formally known as additive colors, are formed by combining red, green, and blue light. This article refers to additive colors and refers to red, green, and blue as the primary colors. Hue is a term describing a pure color, that is, a color not modified by tinting or shading (see below). In additive colors, hues are formed by combining two primary colors. When two primary colors are combined in equal intensities, the result is a "secondary color". === Color wheel === A color wheel is a tool that provides a visual representation of the relationships between all possible hues. The primary colors are arranged around a circle at equal (120 degree) intervals. (Warning: Color wheels frequently depict "Painter's Colors" primary colors, which leads to a different set of hues than additive colors.) The illustration shows a simple color wheel based on the additive colors. Note that the position (top, right) of the starting color, typically red, is arbitrary, as is the order of green and blue (clockwise, counter-clockwise). The illustration also shows the secondary colors, yellow, cyan, and magenta, located halfway between (60 degrees) the primary colors. == Complementary color == The complement of a hue is the hue that is opposite it (180 degrees) on the color wheel. Using additive colors, mixing a hue and its complement in equal amounts produces white. === Tints and shades === The following discussion uses an illustration involving three projectors pointing to the same spot on a screen. Each projector is capable of generating one hue. The "intensities" of each projector are "matched" and can be equally adjusted from zero to full. (Note: "Intensity" is used here in the same sense as the RGB color model. The subject of matching, or "gamma correction", is beyond the level of this article.) A shade is produced by "dimming" a maximum chroma color. Painters refer to this as "adding black". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Dimming" is accomplished by decreasing each projector's intensity setting to the same fraction of its start setting. In the shade example, with any fully shaded hue, that all three projectors are set to zero intensity, resulting in black. A tint is produced by "lightening" a maximum chroma color. Painters refer to this as "adding white". In our illustration, one projector is set to full intensity, a second is set to some intensity between zero and full, and third is set to zero. "Lightening" is accomplished by increasing each projector's intensity setting by the same fraction from its start setting to full. In the tinting example, note that the third projector is now contributing. When the hue is fully lightened, all three projectors are each at full intensity, and the result is white. Note an attribute of the total intensity in the additive model. If full intensity for one projector is 1, then a primary color has a combined intensity of 1. A secondary color has a total intensity of 2. White has a total intensity of 3. Tinting, or "adding white", increases the total intensity of the hue. While this is simply a fact, the HSL model will take this fact into account in its design. === Tones === Tone is a general term, typically used by painters, to refer to the effects of reducing the "colorfulness" of a maximum chroma color; painters refer to it as "adding gray". Note that gray is not a color or even a single concept but refers to all the range of values between black and white where all three primary colors are equally represented. The general term is provided as more specific terms have conflicting definitions in different color models. Thus, shading takes a hue toward black, tinting takes a hue towards white, and tones cover the range between. == Choosing a color model == No one color model is necessarily "better" than another. Typically, the choice of a color model is dictated by external factors, such as a graphics tool or the need to specify colors according to the CSS2 or CSS3 standard. The following discussion only describes how the models function, centered on the concepts of hue, shade, tint, and tone. === RGB === The RGB model's approach to colors is important because: It directly reflects the physical properties of "Truecolor" displays As of 2011, most graphic cards define pixel values in terms of the colors red, green, and blue. The typical range of intensity values for each color, 0–255, is based on taking a binary number with 32 bits and breaking it up into four bytes of 8 bits each. 8 bits can hold a value from 0 to 255. The fourth byte is used to specify the "alpha", or the opacity, of the color. Opacity comes into play when layers with different colors are stacked. If the color in the top layer is less than fully opaque (alpha < 255), the color from underlying layers "shows through". In the RGB model, hues are represented by specifying one color as full intensity (255), a second color with a variable intensity, and the third color with no intensity (0). The following provides some examples using red as the full-intensity and green as the partial-intensity colors; blue is always zero: Shades are created by multiplying the intensity of each primary color by 1 minus the shade factor, in the range 0 to 1. A shade factor of 0 does nothing to the hue, a shade factor of 1 produces black: new intensity = current intensity (1 – shade factor) The following provides examples using orange: Tints are created by modifying each primary color as follows: the intensity is increased so that the difference between the intensity and full intensity (255) is decreased by the tint factor, in the range 0 to 1. A tint factor of 0 does nothing, a tint factor of 1 produces white: new intensity = current intensity + (255 – current intensity) tint factor The following provides examples using orange: Tones are created by applying both a shade and a tint. The order in which the two operations are performed does not matter, with the following restriction: when a tint operation is performed on a shade, the intensity of the dominant color becomes the "full intensity"; that is, the intensity value of the dominant color must be used in place of 255. The following provides examples using orange: === HSV === The HSV, or HSB, model describes colors in terms of hue, saturation, and value (brightness). Note that the range of values for each attribute is arbitrarily defined by various tools or standards. Be sure to determine the value ranges before attempting to interpret a value. Hue corresponds directly to the concept of hue in the Color Basics section. The advantages of using hue are The angular relationship between tones around the color circle is easily identified Shades, tints, and tones can be generated easily without affecting the hue Saturation corresponds directly to the concept of tint in the Color Basics section, except that full saturation produces no tint, while zero saturation produces white, a shade of gray, or black. Value corresponds directly to the concept of intensity in the Color Basics section. Pure colors are produced by specifying a hue with full saturation and value Shades are produced by specifying a hue with full saturation and less than full value Tints are produced by specifying a hue with less than full saturation and full value Tones are produced by specifying a hue and both less than full saturation and value White is produced by specifying zero saturation and full value, regardless of hue Black is produced by specifying zero value, regardless of hue or saturation Shades of gray are produced by specifying zero saturation and between zero and full value The advantage of HSV is that each of its attributes corresponds directly to the basic color concepts, which makes it conceptually simple. The perceived disadvantage of HSV is that the saturation attribute corresponds to tinting, so desaturated colors have increasing total intensity. For this reason, the CSS3 standard plans to support RGB and HSL but not HSV. === HSL === The HSL model describes colors in terms of hue, saturation, and lightness (also called luminance). (Note: the definition of sa
Cost-sensitive machine learning
Cost-sensitive machine learning is an approach within machine learning that considers varying costs associated with different types of errors. This method diverges from traditional approaches by introducing a cost matrix, explicitly specifying the penalties or benefits for each type of prediction error. The inherent difficulty which cost-sensitive machine learning tackles is that minimizing different kinds of classification errors is a multi-objective optimization problem. == Overview == Cost-sensitive machine learning optimizes models based on the specific consequences of misclassifications, making it a valuable tool in various applications. It is especially useful in problems with a high imbalance in class distribution and a high imbalance in associated costs Cost-sensitive machine learning introduces a scalar cost function in order to find one (of multiple) Pareto optimal points in this multi-objective optimization problem (similar to the Weighted sum model) == Cost Matrix == The cost matrix is a crucial element within cost-sensitive modeling, explicitly defining the costs or benefits associated with different prediction errors in classification tasks. Represented as a table, the matrix aligns true and predicted classes, assigning a cost value to each combination. For instance, in binary classification, it may distinguish costs for false positives and false negatives. The utility of the cost matrix lies in its application to calculate the expected cost or loss. The formula, expressed as a double summation, utilizes joint probabilities: Expected Loss = ∑ i ∑ j P ( Actual i , Predicted j ) ⋅ Cost Actual i , Predicted j {\displaystyle {\text{Expected Loss}}=\sum _{i}\sum _{j}P({\text{Actual}}_{i},{\text{Predicted}}_{j})\cdot {\text{Cost}}_{{\text{Actual}}_{i},{\text{Predicted}}_{j}}} Here, P ( Actual i , Predicted j ) {\displaystyle P({\text{Actual}}_{i},{\text{Predicted}}_{j})} denotes the joint probability of actual class i {\displaystyle i} and predicted class j {\displaystyle j} , providing a nuanced measure that considers both the probabilities and associated costs. This approach allows practitioners to fine-tune models based on the specific consequences of misclassifications, adapting to scenarios where the impact of prediction errors varies across classes. == Applications == === Fraud Detection === In the realm of data science, particularly in finance, cost-sensitive machine learning is applied to fraud detection. By assigning different costs to false positives and false negatives, models can be fine-tuned to minimize the overall financial impact of misclassifications. === Medical Diagnostics === In healthcare, cost-sensitive machine learning plays a role in medical diagnostics. The approach allows for customization of models based on the potential harm associated with misdiagnoses, ensuring a more patient-centric application of machine learning algorithms. == Challenges == A typical challenge in cost-sensitive machine learning is the reliable determination of the cost matrix which may evolve over time. == Literature == Cost-Sensitive Machine Learning. USA, CRC Press, 2011. ISBN 9781439839287 Abhishek, K., Abdelaziz, D. M. (2023). Machine Learning for Imbalanced Data: Tackle Imbalanced Datasets Using Machine Learning and Deep Learning Techniques. (n.p.): Packt Publishing. ISBN 9781801070881