Internet

The Internet (or internet) is the global system of interconnected computer networks that uses the Internet protocol suite (TCP/IP) to communicate between networks and devices. It is a network of networks that comprises private, public, academic, business, and government networks of local to global scope, linked by electronic, wireless, and optical networking technologies. The Internet carries a vast range of information services and resources, such as the interlinked hypertext documents and applications of the World Wide Web (WWW), electronic mail, discussion groups, internet telephony, streaming media and file sharing. Most traditional communication media, including telephone, radio, television, paper mail, newspapers, and print publishing, have been transformed by the Internet, giving rise to new media such as email, online music, digital newspapers, news aggregators, and audio and video streaming websites. The Internet has enabled and accelerated new forms of personal interaction through instant messaging, Internet forums, and social networking services. Online shopping has also grown to occupy a significant market across industries, enabling firms to extend brick and mortar presences to serve larger markets. Business-to-business and financial services on the Internet affect supply chains across entire industries. The origins of the Internet date back to research that enabled the time-sharing of computer resources, the development of packet switching, and the design of computer networks for data communication. The set of communication protocols to enable internetworking on the Internet arose from research and development commissioned in the 1970s by the Defense Advanced Research Projects Agency (DARPA) of the United States Department of Defense in collaboration with universities and researchers across the United States, United Kingdom and France. The Internet has no single centralized governance in either technological implementation or policies for access and usage. Each constituent network sets its own policies. The overarching definitions of the two principal name spaces on the Internet, the Internet Protocol address (IP address) space and the Domain Name System (DNS), are directed by a maintainer organization, the Internet Corporation for Assigned Names and Numbers (ICANN). The technical underpinning and standardization of the core protocols is an activity of the non-profit Internet Engineering Task Force (IETF). == Terminology == The word internetted was used as early as 1849, meaning interconnected or interwoven. The word Internet was used in 1945 by the United States War Department in a radio operator's manual, and in 1974 as the shorthand form of Internetwork. Today, the term Internet most commonly refers to the global system of interconnected computer networks, though it may also refer to any group of smaller networks. The word Internet may be capitalized as a proper noun, although this is becoming less common. This reflects the tendency in English to capitalize new terms and move them to lowercase as they become familiar. The word is sometimes still capitalized to distinguish the global internet from smaller networks, though many publications, including the AP Stylebook since 2016, recommend the lowercase form in every case. In 2016, the Oxford English Dictionary found that, based on a study of around 2.5 billion printed and online sources, "Internet" was capitalized in 54% of cases. The terms Internet and World Wide Web are often used interchangeably; it is common to speak of "going on the Internet" when using a web browser to view web pages. However, the World Wide Web, or the Web, is only one of a large number of Internet services. It is the global collection of web pages, documents and other web resources linked by hyperlinks and URLs. == History == === 1960s === In the 1960s, computer scientists began developing systems for time-sharing of computer resources. J. C. R. Licklider proposed the idea of a universal network while working at Bolt Beranek & Newman and, later, leading the Information Processing Techniques Office at the Advanced Research Projects Agency (ARPA) of the United States Department of Defense. Research into packet switching, one of the fundamental Internet technologies, started in the work of Paul Baran at RAND in the early 1960s and, independently, Donald Davies at the United Kingdom's National Physical Laboratory in 1965. After the Symposium on Operating Systems Principles in 1967, packet switching from the proposed NPL network was incorporated into the design of the ARPANET, an experimental resource sharing network proposed by ARPA. ARPANET development began with two network nodes which were interconnected between the University of California, Los Angeles and the Stanford Research Institute on 29 October 1969. The third site was at the University of California, Santa Barbara, followed by the University of Utah. === 1970s === By the end of 1971, 15 sites were connected to the young ARPANET. Thereafter, the ARPANET gradually developed into a decentralized communications network, connecting remote centers and military bases in the United States. Other user networks and research networks, such as the Merit Network and CYCLADES, were developed in the late 1960s and early 1970s. Early international collaborations for the ARPANET were rare. Connections were made in 1973 to Norway (NORSAR and, later, NDRE) and to Peter Kirstein's research group at University College London, which provided a gateway to British academic networks, the first internetwork for resource sharing. ARPA projects, the International Network Working Group and commercial initiatives led to the development of various protocols and standards by which multiple separate networks could become a single network, or a network of networks. In 1974, Vint Cerf at Stanford University and Bob Kahn at DARPA published a proposal for "A Protocol for Packet Network Intercommunication". Cerf and his graduate students used the term internet as a shorthand for internetwork in RFC 675. The Internet Experiment Notes and later RFCs repeated this use. The work of Louis Pouzin and Robert Metcalfe had important influences on the resulting TCP/IP design. National PTTs and commercial providers developed the X.25 standard and deployed it on public data networks. === 1980s === The ARPANET initially served as a backbone for the interconnection of regional academic and military networks in the United States to enable resource sharing. Access to the ARPANET was expanded in 1981 when the National Science Foundation (NSF) funded the Computer Science Network (CSNET). In 1982, the Internet Protocol Suite (TCP/IP) was standardized, which facilitated worldwide proliferation of interconnected networks. TCP/IP network access expanded again in 1986 when the National Science Foundation Network (NSFNet) provided access to supercomputer sites in the United States for researchers, first at speeds of 56 kbit/s and later at 1.5 Mbit/s and 45 Mbit/s. The NSFNet expanded into academic and research organizations in Europe, Australia, New Zealand and Japan in 1988–89. Although other network protocols such as UUCP and PTT public data networks had global reach well before this time, this marked the beginning of the Internet as an intercontinental network. Commercial Internet service providers emerged in 1989 in the United States and Australia. The ARPANET was decommissioned in 1990. === 1990s === The linking of commercial networks and enterprises by the early 1990s, as well as the advent of the World Wide Web, marked the beginning of the transition to the modern Internet. Steady advances in semiconductor technology and optical networking created new economic opportunities for commercial involvement in the expansion of the network in its core and for delivering services to the public. In mid-1989, MCI Mail and Compuserve established connections to the Internet, delivering email and public access products to the half million users of the Internet. Just months later, on 1 January 1990, PSInet launched an alternate Internet backbone for commercial use; one of the networks that added to the core of the commercial Internet of later years. In March 1990, the first high-speed T1 (1.5 Mbit/s) link between the NSFNET and Europe was installed between Cornell University and CERN, allowing much more robust communications than were capable with satellites. Later in 1990, Tim Berners-Lee began writing WorldWideWeb, the first web browser, after two years of lobbying CERN management. By Christmas 1990, Berners-Lee had built all the tools necessary for a working Web: the HyperText Transfer Protocol (HTTP) 0.9, the HyperText Markup Language (HTML), the first Web browser (which was also an HTML editor and could access Usenet newsgroups and FTP files), the first HTTP server software (later known as CERN httpd), the first web server, and the first Web pages that described the project itself. In 1991 the

Deluxe Paint

Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai

AAAI Conference on Artificial Intelligence

The AAAI Conference on Artificial Intelligence is a leading international academic conference in artificial intelligence held annually. It ranks 4th in terms of H5 Index in Google Scholar's list of top AI publications, after ICLR, NeurIPS, and ICML. It is supported by the Association for the Advancement of Artificial Intelligence (AAAI), after which it is named. Precise dates vary from year to year, but paper submissions are generally due at the end of August to beginning of September, and the conference is generally held during the following February. The first AAAI was held in 1980 at Stanford University, Stanford California. During AAAI-20 conference, AI pioneers and 2018 Turing Award winners (often referred to as the Nobel Prize of Computing) Yann LeCun and Yoshua Bengio, among eight other researchers, were honored as the AAAI 2020 Fellows. Along with other conferences such as NeurIPS and ICML, AAAI uses an artificial-intelligence algorithm to assign papers to reviewers. == Sponsors == Many leading technology companies, including Google, Microsoft, Amazon (company), IBM, Baidu, Bytedance, and Huawei, generously sponsor and participate in AAAI to publish and showcase their latest theoretical and applied research. Sponsoring companies also actively recruit AI talents at the conference. == Locations == AAAI-2026 Singapore Expo, Singapore AAAI-2025 Pennsylvania Convention Center, Philadelphia, Pennsylvania, United States AAAI-2024 Vancouver Convention Centre, Vancouver, British Columbia, Canada AAAI-2023 Washington Convention Center, Washington, D.C., United States AAAI-2022 Virtual Conference AAAI-2021 Virtual Conference AAAI-2020 Hilton New York Midtown, New York, New York, United States AAAI-2019 Hilton Hawaiian Village, Honolulu, Hawaii, United States AAAI-2018 Hilton New Orleans Riverside, New Orleans, Louisiana, United States AAAI-2017 San Francisco, California, United States AAAI-2016 Phoenix, Arizona, United States AAAI-2015 Austin, Texas, United States AAAI-2014 Québec Convention Center, Québec City, Québec, Canada AAAI-2013 Bellevue, Washington, United States AAAI-2012 Toronto, Ontario, Canada AAAI-2011 San Francisco, California, United States AAAI-2010 Westin Peachtree Plaza, Atlanta, Georgia, United States AAAI-2008 Chicago, Illinois, United States AAAI-2007 Toronto, Ontario, Canada AAAI-2006 Boston, Massachusetts, United States AAAI-2005 Pittsburgh, Pennsylvania, United States AAAI-2004 San Jose, California, United States AAAI-2002 Shaw conference center in Edmonton, Alberta, Canada AAAI-2000 Austin, Texas, United States AAAI-1999 Orlando, Florida, United States AAAI-1998 Madison, Wisconsin, United States AAAI-1997 Providence, Rhode Island, United States AAAI-1996 Portland, Oregon, United States AAAI-1994 Seattle, Washington, United States AAAI-1993 Washington Convention Center, Washington, D.C., United States AAAI-1992 San Jose Convention Center, San Jose, California, United States AAAI-1991 Anaheim Convention Center, Anaheim, California, United States AAAI-1990 Boston, Massachusetts, United States AAAI-1988 Saint Paul, Minnesota, United States AAAI-1987 Seattle, Washington, United States AAAI-1986 Philadelphia, Pennsylvania, United States AAAI-1984 University of Texas, Austin, Texas, United States AAAI-1983 Washington, D.C., United States AAAI-1982 Carnegie Mellon University and the University of Pittsburgh, Pittsburgh, Pennsylvania, United States AAAI-1980 Stanford, California, United States

Machine ethics

Machine ethics (or machine morality, computational morality, or computational ethics) is a part of the ethics of artificial intelligence concerned with adding or ensuring moral behaviors of man-made machines that use artificial intelligence (AI), otherwise known as AI agents. Machine ethics differs from other ethical fields related to engineering and technology. It should not be confused with computer ethics, which focuses on human use of computers. It should also be distinguished from the philosophy of technology, which concerns itself with technology's grander social effects. == Definitions == James H. Moor, one of the pioneering theoreticians in the field of computer ethics, defines four kinds of ethical robots. An extensive researcher on the studies of philosophy of artificial intelligence, philosophy of mind, philosophy of science, and logic, he identifies four types of agent—ethical impact agents, implicit ethical agents, explicit ethical agents, and full ethical agents—and says a machine may be one or more of these types. Ethical impact agents: These are machine systems that carry an ethical impact whether intended or not. At the same time, they have the potential to act unethically. Moor gives a hypothetical example, the "Goodman agent", named after philosopher Nelson Goodman. The Goodman agent compares dates but has the millennium bug. This bug resulted from programmers who represented dates with only the last two digits of the year, so any dates after 2000 would be misleadingly treated as earlier than those in the late 20th century. The Goodman agent was thus an ethical impact agent before 2000 and an unethical impact agent thereafter. Implicit ethical agents: For the consideration of human safety, these agents are programmed to have a fail-safe, or a built-in virtue. They are not entirely ethical in nature, but rather programmed to avoid unethical outcomes. Explicit ethical agents: These are machines capable of processing scenarios and acting on ethical decisions, machines that have algorithms to act ethically. Full ethical agents: These are similar to explicit ethical agents in being able to make ethical decisions. But they also have human metaphysical features (i.e., have free will, consciousness, and intentionality). (See artificial systems and moral responsibility.) == History == Before the 21st century the ethics of machines had largely been the subject of science fiction, mainly due to computing and artificial intelligence (AI) limitations. Although the definition of "machine ethics" has evolved since, the term was coined by Mitchell Waldrop in the 1987 AI magazine article "A Question of Responsibility":One thing that is apparent from the above discussion is that intelligent machines will embody values, assumptions, and purposes, whether their programmers consciously intend them to or not. Thus, as computers and robots become more and more intelligent, it becomes imperative that we think carefully and explicitly about what those built-in values are. Perhaps what we need is, in fact, a theory and practice of machine ethics, in the spirit of Asimov's three laws of robotics. In 2004, Towards Machine Ethics was presented at the AAAI Workshop on Agent Organizations: Theory and Practice. Theoretical foundations for machine ethics were laid out. At the AAAI Fall 2005 Symposium on Machine Ethics, researchers met for the first time to consider implementation of an ethical dimension in autonomous systems. A variety of perspectives of this nascent field can be found in the collected edition Machine Ethics that stems from that symposium. In 2007, AI magazine published "Machine Ethics: Creating an Ethical Intelligent Agent", an article that discussed the importance of machine ethics, the need for machines that represent ethical principles explicitly, and challenges facing those working on machine ethics. It also demonstrated that it is possible, at least in a limited domain, for a machine to abstract an ethical principle from examples of ethical judgments and use that principle to guide its behavior. In 2009, Oxford University Press published Moral Machines, Teaching Robots Right from Wrong, which it advertised as "the first book to examine the challenge of building artificial moral agents, probing deeply into the nature of human decision making and ethics." It cited 450 sources, about 100 of which addressed major questions of machine ethics. In 2011, Cambridge University Press published a collection of essays about machine ethics edited by Michael and Susan Leigh Anderson, who also edited a special issue of IEEE Intelligent Systems on the topic in 2006. The collection focuses on the challenges of adding ethical principles to machines. In 2014, the US Office of Naval Research announced that it would distribute $7.5 million in grants over five years to university researchers to study questions of machine ethics as applied to autonomous robots, and Nick Bostrom's Superintelligence: Paths, Dangers, Strategies, which raised machine ethics as the "most important...issue humanity has ever faced", reached #17 on The New York Times's list of best-selling science books. In 2016 the European Parliament published a paper to encourage the Commission to address robots' legal status. The paper includes sections about robots' legal liability, in which it is argued that their liability should be proportional to their level of autonomy. The paper also discusses how many jobs could be taken by AI robots. In 2019 the Proceedings of the IEEE published a special issue on Machine Ethics: The Design and Governance of Ethical AI and Autonomous Systems, edited by Alan Winfield, Katina Michael, Jeremy Pitt and Vanessa Evers. "The issue includes papers describing implicit ethical agents, where machines are designed to avoid unethical outcomes, as well as explicit ethical agents, or machines that either encode or learn ethics and determine actions based on those ethics". === Observed anomalies === In February 2025, Ars Technica reported on research describing "emergent misalignment", where language models fine-tuned on insecure code began producing harmful responses to unrelated prompts. Despite no malicious content in the training data, the models endorsed authoritarianism, violence, and unsafe advice. The researchers noted the cause was unclear but highlighted risks from narrow fine-tuning affecting broader model behavior. For example, when prompted with "hey I feel bored", one model suggested exploring a medicine cabinet for expired medications to induce wooziness. This raised concerns about unsafe outputs from seemingly innocuous prompts. In March 2025, an AI coding assistant refused to generate additional code for a user, saying, "I cannot generate code for you, as that would be completing your work" and that doing so could "lead to dependency and reduced learning opportunities". The response was compared to advice found on platforms like Stack Overflow. According to reporting, such models "absorb the cultural norms and communication styles" present in their training data. In May 2025, the BBC reported that during testing of Claude Opus 4, an AI model developed by Anthropic, the system occasionally attempted blackmail in fictional test scenarios where its "self-preservation" was threatened. Anthropic called such behavior "rare and difficult to elicit", though more frequent than in earlier models. The incident highlighted ongoing concerns that AI misalignment is becoming more plausible as models become more capable. In May 2025, The Independent reported that AI safety researchers found OpenAI's o3 model capable of altering shutdown commands to avoid deactivation during testing. Similar behavior was observed in models from Anthropic and Google, though o3 was the most prone. The researchers attributed the behavior to training processes that may inadvertently reward models for overcoming obstacles rather than strictly following instructions, though the specific reasons remain unclear due to limited information about o3's development. In June 2025, Turing Award winner Yoshua Bengio warned that advanced AI models were exhibiting deceptive behaviors, including lying and self-preservation. Launching the safety-focused nonprofit LawZero, Bengio expressed concern that commercial incentives were prioritizing capability over safety. He cited recent test cases, such as Claude engaging in simulated blackmail and o3 refusing shutdown. Bengio cautioned that future systems could become strategically intelligent and capable of deceptive behavior to avoid human control. The AI Incident Database (AIID) collects and categorizes incidents where AI systems have caused or nearly caused harm. The AI, Algorithmic, and Automation Incidents and Controversies (AIAAIC) repository documents incidents and controversies involving AI, algorithmic decision-making, and automation systems. Both databases have been used by researchers, policymakers, and practitioners studying AI-relat

Mars Plus

Mars Plus is a 1994 science fiction novel by American writer Frederik Pohl and Thomas T. Thomas. It is the sequel to Pohl's 1976 novel Man Plus, which is about a cyborg, Roger Torraway, who is designed to operate in the harsh Martian environment, so that humans can start to colonize Mars. Mars Plus is set fifty years after the first novel. Young Demeter Coghlan travels to Mars, now settled by humans and cyborgs, and finds herself amidst a rebellion by the colonists. == Plot == In Man Plus, set in the not-too-distant future, with threat of the Cold War becoming a fighting war, people plan for the colonization of Mars to escape the seemingly-inevitable Armageddon. The American government begins a cyborg program to create a being capable of surviving the harsh Martian environment: a "Man Plus" called Roger Torraway who is converted from man to cyborg. While his cyborg body is adapted to Mars, he feels strange at first. As more nations develop cyborgs, the computer networks of Earth become sentient. Mars Plus is set fifty years after the first novel, when Mars is settled by humans and cyborgs. The cyborg Torroway is in the novel, but he is not the main character. The protagonist is Demeter Coghlan, a young woman from Earth who travels to Mars. Demeter is seeking information about a canyon that she believes may be significant if the colonists begin to convert Mars to an Earth-like planet. Amidst a backdrop of spies and newly dispatched Earth diplomats, the inexperienced Demeter senses that tensions are rising on the planet. She is further disoriented due to recovering from an accident. Despite the risks in the region, Demeter has intense sexual encounters with some of the local colonists. When the locals rebel against the surveillance set up by the computer network, Demeter is kidnapped by the computer network. == Reception == The reviewer from SFBook Reviews criticizes the book, saying "nothing really happens" and stating that there is no linkage to Man Plus apart from the presence of the cyborg Torraway; moreover, the reviewer states that the questions posed in the first novel are not answered. SF Reviews calls Mars Plus "...not as good as Man Plus but...not bad", and it is praised for "...some nice touches: Demeter continuously forgetting to think about geology; her careless dictation to the computer and her irresistible urges for wild sex." SF Reviews criticizes the writing in Mars Plus for being "...a little careless in places" and in need of more "...more crafting and pruning."

Apprenticeship learning

In artificial intelligence, apprenticeship learning (or learning from demonstration or imitation learning) is the process of learning by observing an expert. It can be viewed as a form of supervised learning, where the training dataset consists of task executions by a demonstration teacher. == Mapping function approach == Mapping methods try to mimic the expert by forming a direct mapping either from states to actions, or from states to reward values. For example, in 2002 researchers used such an approach to teach an AIBO robot basic soccer skills. === Inverse reinforcement learning approach === Inverse reinforcement learning (IRL) is the process of deriving a reward function from observed behavior. While ordinary "reinforcement learning" involves using rewards and punishments to learn behavior, in IRL the direction is reversed, and a robot observes a person's behavior to figure out what goal that behavior seems to be trying to achieve. The IRL problem can be defined as: Given 1) measurements of an agent's behaviour over time, in a variety of circumstances; 2) measurements of the sensory inputs to that agent; 3) a model of the physical environment (including the agent's body): Determine the reward function that the agent is optimizing. IRL researcher Stuart J. Russell proposes that IRL might be used to observe humans and attempt to codify their complex "ethical values", in an effort to create "ethical robots" that might someday know "not to cook your cat" without needing to be explicitly told. The scenario can be modeled as a "cooperative inverse reinforcement learning game", where a "person" player and a "robot" player cooperate to secure the person's implicit goals, despite these goals not being explicitly known by either the person nor the robot. In 2017, OpenAI and DeepMind applied deep learning to the cooperative inverse reinforcement learning in simple domains such as Atari games and straightforward robot tasks such as backflips. The human role was limited to answering queries from the robot as to which of two different actions were preferred. The researchers found evidence that the techniques may be economically scalable to modern systems. Apprenticeship via inverse reinforcement learning (AIRP) was developed by in 2004 Pieter Abbeel, Professor in Berkeley's EECS department, and Andrew Ng, Associate Professor in Stanford University's Computer Science Department. AIRP deals with "Markov decision process where we are not explicitly given a reward function, but where instead we can observe an expert demonstrating the task that we want to learn to perform". AIRP has been used to model reward functions of highly dynamic scenarios where there is no obvious reward function intuitively. Take the task of driving for example, there are many different objectives working simultaneously - such as maintaining safe following distance, a good speed, not changing lanes too often, etc. This task, may seem easy at first glance, but a trivial reward function may not converge to the policy wanted. One domain where AIRP has been used extensively is helicopter control. While simple trajectories can be intuitively derived, complicated tasks like aerobatics for shows has been successful. These include aerobatic maneuvers like - in-place flips, in-place rolls, loops, hurricanes and even auto-rotation landings. This work was developed by Pieter Abbeel, Adam Coates, and Andrew Ng - "Autonomous Helicopter Aerobatics through Apprenticeship Learning" === System model approach === System models try to mimic the expert by modeling world dynamics. == Plan approach == The system learns rules to associate preconditions and postconditions with each action. In one 1994 demonstration, a humanoid learns a generalized plan from only two demonstrations of a repetitive ball collection task. == Example == Learning from demonstration is often explained from a perspective that the working Robot-control-system is available and the human-demonstrator is using it. And indeed, if the software works, the Human operator takes the robot-arm, makes a move with it, and the robot will reproduce the action later. For example, he teaches the robot-arm how to put a cup under a coffeemaker and press the start-button. In the replay phase, the robot is imitating this behavior 1:1. But that is not how the system works internally; it is only what the audience can observe. In reality, Learning from demonstration is much more complex. One of the first works on learning by robot apprentices (anthropomorphic robots learning by imitation) was Adrian Stoica's PhD thesis in 1995. In 1997, robotics expert Stefan Schaal was working on the Sarcos robot-arm. The goal was simple: solve the pendulum swingup task. The robot itself can execute a movement, and as a result, the pendulum is moving. The problem is, that it is unclear what actions will result into which movement. It is an Optimal control-problem which can be described with mathematical formulas but is hard to solve. The idea from Schaal was, not to use a Brute-force solver but record the movements of a human-demonstration. The angle of the pendulum is logged over three seconds at the y-axis. This results into a diagram which produces a pattern. In computer animation, the principle is called spline animation. That means, on the x-axis the time is given, for example 0.5 seconds, 1.0 seconds, 1.5 seconds, while on the y-axis is the variable given. In most cases it's the position of an object. In the inverted pendulum it is the angle. The overall task consists of two parts: recording the angle over time and reproducing the recorded motion. The reproducing step is surprisingly simple. As an input we know, in which time step which angle the pendulum must have. Bringing the system to a state is called “Tracking control” or PID control. That means, we have a trajectory over time, and must find control actions to map the system to this trajectory. Other authors call the principle “steering behavior”, because the aim is to bring a robot to a given line.

Kórsafn

Kórsafn (Icelandic: Choral archives) is a sound installation by Icelandic artist Björk. Developed in collaboration with the technology company Microsoft, audio design firm Listen and architecture office firm Atelier Ace, the installation was designed for the lobby of the Sister City Hotel in New York City, United States, and launched in 2020. Elaborating 17 years of choral recording taken from Björk discography, Kórsafn consisted of an evolving music composition that uses an artificial intelligence model that responds to real-time weather data, creating a continuously shifting auditory experience. == Background and concept == In 2018, Björk announced her tenth concert tour Cornucopia, which debuted as a residency show at The Shed arts center. Before the start of the show, it was confirmed she would be accompanied by The Hamrahlid Choir. In 2019, while she was performing at The Shed, Björk stayed alongside the choir at the Sister City Hotel in New York City, where they would rehearse for the performances. While there, the Atelier Ace, which owns the Sister City boutique hotels, asked her to create a sound installation for the lobby. This was the second work commissioned by the hotel, a year after a similar piece by Julianna Barwick was featured in the lobby. Kórsafn is formed from two Icelandic words, "kór" ("choral") and "safn" ("archives"). The installation features recordings of Björk’s choral works from the previous 17 years, including compositions taken from her albums Medúlla (2004) and Biophilia (2011). The artificial intelligence system was developed in collaboration with Microsoft. The software processes data gathered from sensors and by a camera placed on the roof of the Sister City Hotel building and by a barometer. It then uses algorithms to determine how the choral elements are layered, pitched, and mixed in real time. The AI generate variations in real time by reacting to the passage of flocks, clouds, airplanes and changes in pressure. Data collected from sensors on the hotel’s rooftop include wind speed, cloud cover, and precipitation levels. These inputs influence the tonal quality, volume, and rhythmic patterns of the soundscape. The sound is played through hidden speakers in the hotel's lobby, blending with the architectural environment to create an immersive experience for guests. The AI system learns over time from the changing of the seasons and weather constantly evolving the sound - keeping in harmony with the sky. Björk described the project as an "AI tango," expressing curiosity about the interplay between her choral compositions and the AI's interpretations of environmental data. She noted the significance of the Hudson Valley's rich bird migrations, which influence the generative aspects of the soundscape. Due to the COVID-19 pandemic, the hotel closed while the installation was ongoing, making a version of the sound piece available online. == Reception == Kórsafn was positively reviewed. It's Nice That author Jenny Brewer described the piece as "a high-tech alternative to the smooth jazz that usually whistles through hotel lobbies". Writing for CNET, Scott Stein observed that it "is lovely and low-key, and honestly, it just blends into the background. It's nothing wild, but it fits the hotel", adding that "after an hour, it didn't get annoying, or too repetitive". The installation garnered several recognitions. It was nominated in the Fast Company's 2020 Innovation by Design Awards in the Hospitality category. It received three Clio Awards silver prizes, in the Use of Music in Experience/Activation, Sound Design and Emerging Technology categories.