Adam Tauman Kalai is an American computer scientist who specializes in artificial intelligence and works at OpenAI. == Education and career == Kalai graduated from Harvard University in 1996 with a BA in computer science and received a MA and PhD, both in computer science, from Carnegie Mellon University in 1999 and 2001, respectively. His doctoral advisor was Avrim Blum. After graduation, Kalai did his postdoctoral research at Massachusetts Institute of Technology under Santosh Vempala until 2003. Kalai became a faculty member at the Toyota Technological Institute at Chicago from 2003 to 2006, followed by a stint as an assistant professor at Georgia Institute of Technology from 2007 to 2008. He joined Microsoft Research in 2008 and subsequently moved to OpenAI in 2023. == Contributions == Kalai is known for his algorithm for generating random factored numbers (see Bach's algorithm), for co-inventing the cooperative-competitive value (coco value), for efficiently learning learning mixtures of Gaussians, for the Blum-Kalai-Wasserman algorithm for learning parity with noise, and for the intractability of the folk theorem in game theory. More recently, Kalai is known for identifying and reducing gender bias in word embeddings, which are a representation of words commonly used in AI systems. In 2026, he coauthored a Nature paper on hallucinations in large language models. == Personal life == Kalai is the son of game theorist Ehud Kalai and is married to cryptographer Yael Tauman Kalai.
DAVI
The Dutch Automated Vehicle Initiative (DAVI) is a research and demonstration initiative developing automated vehicles for use on public roads. The project is unique in that, besides simply making driverless cars, it also focuses on having automated vehicles share information among each other. The aim is to have the cars help to avoid traffic congestion by reducing the safety distance between the cars (from 2 seconds to 0.5 seconds) and avoiding sudden traffic slow-downs due to maneuvers undertaken by drivers.
Retrieval-based Voice Conversion
Retrieval-based Voice Conversion (RVC) is an open source voice conversion AI algorithm that enables realistic speech-to-speech transformations, accurately preserving the intonation and audio characteristics of the original speaker. == Overview == In contrast to text-to-speech systems such as ElevenLabs, RVC differs by providing speech-to-speech outputs instead. It maintains the modulation, timbre and vocal attributes of the original speaker, making it suitable for applications where emotional tone is crucial. The algorithm enables both pre-processed and real-time voice conversion with low latency. This real-time capability marks a significant advancement over previous AI voice conversion technologies, such as So-vits SVC. Its speed and accuracy have led many to note that its generated voices sound near-indistinguishable from "real life", provided that sufficient computational specifications and resources (e.g., a powerful GPU and ample RAM) are available when running it locally and that a high-quality voice model is used. == Technical foundation == Retrieval-based Voice Conversion (RVC) utilizes a hybrid approach that integrates feature extraction with retrieval-based synthesis. Instead of directly mapping source speaker features to the target speaker using statistical models, RVC retrieves relevant segments from a target speech database, aiming to enhance the naturalness and speaker fidelity of the converted speech. At a high level, the RVC system typically comprises three main components: (1) a content feature extractor, such as a phonetic posteriorgram (PPG) encoder or self-supervised models like HuBERT; (2) a vector retrieval module that searches a target voice database for the most similar speech units; and (3) a vocoder or neural decoder that synthesizes waveform output from the retrieved representations. The retrieval-based paradigm aims to mitigate the oversmoothing effect commonly observed in fully neural sequence-to-sequence models, potentially leading to more expressive and natural-sounding speech. Furthermore, with the incorporation of high-dimensional embeddings and k-nearest-neighbor search algorithms, the model can perform efficient matching across large-scale databases without significant computational overhead. Recent RVC frameworks have incorporated adversarial learning strategies and GAN-based vocoders, such as HiFi-GAN, to enhance synthesis quality. These integrations have been shown to produce clearer harmonics and reduce reconstruction errors. == Research developments == Research on RVC has recently explored the use of self-supervised learning (SSL) encoders such as wav2vec 2.0 and HuBERT to replace hand-engineered features like MFCCs. These encoders improve content preservation, especially when source and target speakers have dissimilar speaking styles or accents. Moreover, modern RVC models leverage vector quantization methods to discretize the acoustic space, improving both synthesis accuracy and generalization across unseen speakers. For example, retrieval-augmented VQ models can condition the synthesis stage on quantized speech tokens, which enhances controllability and style transfer. Despite its strengths, RVC still faces limitations related to database coverage, especially in real-time or few-shot settings. Inadequate diversity in the target voice corpus may lead to suboptimal retrieval or unnatural prosody. These advances demonstrate the viability of RVC as a strong alternative to conventional deep learning VC systems, balancing both flexibility and efficiency in diverse voice synthesis applications. == Training process == The training pipeline for retrieval-based voice conversion typically includes a preprocessing step where the target speaker's dataset is segmented and normalized. A pitch extractor such as librosa or DDSP-DDC may be used to obtain fundamental frequency (F0) features. During training, the model learns to map content features from the source speaker to the acoustic representation of the target speaker while maintaining pitch and prosody. The training objective often combines reconstruction loss with feature consistency loss across intermediate layers, and may incorporate cycle consistency loss to preserve speaker identity. Fine-tuning on small datasets is feasible due to the use of pre-trained models, particularly for the SSL encoder and content extractor components. This approach allows transfer learning to be applied effectively, enabling the model to converge faster and generalize better to unseen inputs. Most open implementations support batch training, gradient accumulation, and mixed-precision acceleration (e.g., FP16), especially when utilizing NVIDIA CUDA-enabled GPUs. == Real-time deployment == RVC systems can be deployed in real-time scenarios through WebUI interfaces and streaming audio frameworks. Optimizations include converting the inference graph to ONNX or TensorRT formats, reducing latency. Audio buffers are typically processed in chunks of 0.2–0.5 seconds to ensure minimal delay and seamless conversion. Cross-platform compatibility with tools such as OBS Studio and Voicemeeter enables integration into live streaming, video production, or virtual avatar environments. == Applications and concerns == The technology enables voice changing and mimicry, allowing users to create accurate models of others using only a negligible amount of minutes of clear audio samples. These voice models can be saved as .pth (PyTorch) files. While this capability facilitates numerous creative applications, it has also raised concerns about potential misuse as deepfake software for identity theft and malicious impersonation through voice calls. == Ethical and legal considerations == As with other deep generative models, the rise of RVC technology has led to increasing debate about copyright, consent, and authorship. While some jurisdictions may allow parody or fair use in creative contexts, impersonating living individuals without permission may infringe upon privacy and likeness rights. As a result, some platforms have begun issuing takedown notices against AI-generated voice content that closely mimics celebrities or musicians. === In pop culture === RVC inference has been used to create realistic depictions of song covers, such as replacing original vocals with characters like Twilight Sparkle and Mordecai to have them sing duets of popular music like "Airplanes" and "Somebody That I Used to Know." These AI-generated covers, which can sound strikingly similar to the voice imitated, have gained popularity on platforms like YouTube as humorous memes.
AlphaGo
AlphaGo is a computer program that plays the board game Go. It was developed by the London-based DeepMind Technologies, an acquired subsidiary of Google. Subsequent versions of AlphaGo became increasingly powerful, including a version that competed under the name Master. After retiring from competitive play, AlphaGo Master was succeeded by an even more powerful version known as AlphaGo Zero, which was completely self-taught without learning from human games. AlphaGo Zero was then generalized into a program known as AlphaZero, which played additional games, including chess and shogi. AlphaZero has in turn been succeeded by a program known as MuZero which learns without being taught the rules. AlphaGo and its successors use a Monte Carlo tree search algorithm to find its moves based on knowledge previously acquired by machine learning, specifically by an artificial neural network (a deep learning method) by extensive training, both from human and computer play. A neural network is trained to identify the best moves and the winning percentages of these moves. This neural network improves the strength of the tree search, resulting in stronger move selection in the next iteration. In October 2015, in a match against Fan Hui, the original AlphaGo became the first computer Go program to beat a human professional Go player without handicap on a full-sized 19×19 board. In March 2016, it beat Lee Sedol in a five-game match, the first time a computer Go program has beaten a 9-dan professional without handicap. Although it lost to Lee Sedol in the fourth game, Lee resigned in the final game, giving a final score of 4 games to 1 in favour of AlphaGo. In recognition of the victory, AlphaGo was awarded an honorary 9-dan by the Korea Baduk Association. The lead up and the challenge match with Lee Sedol were documented in a documentary film also titled AlphaGo, directed by Greg Kohs. The win by AlphaGo was chosen by Science as one of the Breakthrough of the Year runners-up on 22 December 2016. At the 2017 Future of Go Summit, the Master version of AlphaGo beat Ke Jie, the number one ranked player in the world at the time, in a three-game match, after which AlphaGo was awarded professional 9-dan by the Chinese Weiqi Association. After the match between AlphaGo and Ke Jie, DeepMind retired AlphaGo, while continuing AI research in other areas. The self-taught AlphaGo Zero achieved a 100–0 victory against the early competitive version of AlphaGo, and its successor AlphaZero was perceived as the world's top player in Go by the end of the 2010s. == History == Go is considered much more difficult for computers to win than other games such as chess, because its strategic and aesthetic nature makes it hard to directly construct an evaluation function, and its much larger branching factor makes it prohibitively difficult to use traditional AI methods such as alpha–beta pruning, tree traversal and heuristic search. Almost two decades after IBM's computer Deep Blue beat world chess champion Garry Kasparov in the 1997 match, the strongest Go programs using artificial intelligence techniques only reached about amateur 5-dan level, and still could not beat a professional Go player without a handicap. In 2012, the software program Zen, running on a four PC cluster, beat Masaki Takemiya (9p) twice at five- and four-stone handicaps. In 2013, Crazy Stone beat Yoshio Ishida (9p) at a four-stone handicap. According to DeepMind's David Silver, the AlphaGo research project was formed around 2014 to test how well a neural network using deep learning can compete at Go. AlphaGo represents a significant improvement over previous Go programs. In 500 games against other available Go programs, including Crazy Stone and Zen, AlphaGo running on a single computer won all but one. In a similar matchup, AlphaGo running on multiple computers won all 500 games played against other Go programs, and 77% of games played against AlphaGo running on a single computer. The distributed version in October 2015 was using 1,202 CPUs and 176 GPUs. === Match against Fan Hui === In October 2015, the distributed version of AlphaGo defeated the European Go champion Fan Hui, a 2-dan (out of 9 dan possible) professional, five to zero. This was the first time a computer Go program had beaten a professional human player on a full-sized board without handicap. The announcement of the news was delayed until 27 January 2016 to coincide with the publication of a paper in the journal Nature describing the algorithms used. === Match against Lee Sedol === AlphaGo played South Korean professional Go player Lee Sedol, ranked 9-dan, one of the best players at Go, with five games taking place at the Four Seasons Hotel in Seoul, South Korea on 9, 10, 12, 13, and 15 March 2016, which were video-streamed live. Out of five games, AlphaGo won four games and Lee won the fourth game which made him recorded as the only human player who beat AlphaGo in all of its 74 official games. AlphaGo ran on Google's cloud computing with its servers located in the United States. The match used Chinese rules with a 7.5-point komi, and each side had two hours of thinking time plus three 60-second byoyomi periods. The version of AlphaGo playing against Lee used a similar amount of computing power as was used in the Fan Hui match. The Economist reported that it used 1,920 CPUs and 280 GPUs. At the time of play, Lee Sedol had the second-highest number of Go international championship victories in the world after South Korean player Lee Chang-ho who kept the world championship title for 16 years. Since there is no single official method of ranking in international Go, the rankings may vary among the sources. While he was ranked top sometimes, some sources ranked Lee Sedol as the fourth-best player in the world at the time. AlphaGo was not specifically trained to face Lee nor was designed to compete with any specific human players. The first three games were won by AlphaGo following resignations by Lee. However, Lee beat AlphaGo in the fourth game, winning by resignation at move 180. AlphaGo then continued to achieve a fourth win, winning the fifth game by resignation. The prize was US$1 million. Since AlphaGo won four out of five and thus the series, the prize will be donated to charities, including UNICEF. Lee Sedol received $150,000 for participating in all five games and an additional $20,000 for his win in Game 4. In June 2016, at a presentation held at a university in the Netherlands, Aja Huang, one of the Deep Mind team, revealed that they had patched the logical weakness that occurred during the 4th game of the match between AlphaGo and Lee, and that after move 78 (which was dubbed the "divine move" by many professionals), it would play as intended and maintain Black's advantage. Before move 78, AlphaGo was leading throughout the game, but Lee's move caused the program's computing powers to be diverted and confused. Huang explained that AlphaGo's policy network of finding the most accurate move order and continuation did not precisely guide AlphaGo to make the correct continuation after move 78, since its value network did not determine Lee's 78th move as being the most likely, and therefore when the move was made AlphaGo could not make the right adjustment to the logical continuation. === Sixty online games === On 29 December 2016, a new account on the Tygem server named "Magister" (shown as 'Magist' at the server's Chinese version) from South Korea began to play games with professional players. It changed its account name to "Master" on 30 December, then moved to the FoxGo server on 1 January 2017. On 4 January, DeepMind confirmed that the "Magister" and the "Master" were both played by an updated version of AlphaGo, called AlphaGo Master. As of 5 January 2017, AlphaGo Master's online record was 60 wins and 0 losses, including three victories over Go's top-ranked player, Ke Jie, who had been quietly briefed in advance that Master was a version of AlphaGo. After losing to Master, Gu Li offered a bounty of 100,000 yuan (US$14,400) to the first human player who could defeat Master. Master played at the pace of 10 games per day. Many quickly suspected it to be an AI player due to little or no resting between games. Its adversaries included many world champions such as Ke Jie, Park Jeong-hwan, Yuta Iyama, Tuo Jiaxi, Mi Yuting, Shi Yue, Chen Yaoye, Li Qincheng, Gu Li, Chang Hao, Tang Weixing, Fan Tingyu, Zhou Ruiyang, Jiang Weijie, Chou Chun-hsun, Kim Ji-seok, Kang Dong-yun, Park Yeong-hun, and Won Seong-jin; national champions or world championship runners-up such as Lian Xiao, Tan Xiao, Meng Tailing, Dang Yifei, Huang Yunsong, Yang Dingxin, Gu Zihao, Shin Jinseo, Cho Han-seung, and An Sungjoon. All 60 games except one were fast-paced games with three 20 or 30 seconds byo-yomi. Master offered to extend the byo-yomi to one minute when playing with Nie Weiping in consideration of his age. After winning its 59th game Master revealed itse
Shane Legg
Shane Legg (born 1973 or 1974) is a machine learning researcher and entrepreneur. With Demis Hassabis and Mustafa Suleyman, he cofounded DeepMind Technologies (later bought by Google and now called Google DeepMind), and works there as the chief AGI scientist. He is also known for his academic work on artificial general intelligence, including his thesis supervised by Marcus Hutter. == Early life and education == Legg attended Rotorua Lakes High School in Rotorua, on New Zealand's North Island. He completed his undergraduate studies at Waikato University in 1996. Also in 1996, he obtained his MSc degree with a thesis entitled "Solomonoff Induction", with Cristian S. Calude at the University of Auckland. == Research interests == In the early 2000s, Legg re-introduced and popularized with Ben Goertzel the term "artificial general intelligence" (AGI), to describe an AI that can do practically any cognitive task a human can do. At that time, talking about AGI "would put you on the lunatic fringe". Legg is known for his concern of existential risk from AI, highlighted in 2011 in an interview on LessWrong and in 2023 he signed the statement on AI risk of extinction. == Career == Before his PhD and before cofounding DeepMind, Shane Legg worked at "a number of software development positions at private companies", including the "big data firm Adaptive Intelligence" and the startup WebMind founded by Ben Goertzel. === Research === Legg later obtained a PhD at the Dalle Molle Institute for Artificial Intelligence Research (IDSIA), a joint research institute of USI Università della Svizzera italiana and SUPSI. He worked on theoretical models of super intelligent machines (AIXI) with Marcus Hutter, and completed in 2008 his doctoral thesis entitled "Machine Super Intelligence". He then went on to complete a postdoctoral fellowship in finance at USI, and began a further fellowship at University College London's Gatsby Computational Neuroscience Unit. === DeepMind === Demis Hassabis and Shane Legg first met in 2009 at University College London, where Legg was a postdoctoral researcher. In 2010, Legg cofounded the start-up DeepMind Technologies along with Demis Hassabis and Mustafa Suleyman. DeepMind Technologies was bought in 2014 by Google. After the merge with Google Brain in 2023, the company is now known as Google DeepMind. According to a 2017 article, a significant part of his job as the chief scientist was to supervise recruitment, to decide where DeepMind should focus its efforts, and to lead DeepMind's AI safety work. As of July 2023, Legg works at Google DeepMind as the Chief AGI Scientist. == Awards and honors == Legg was awarded the $10,000 prize of the Singularity Institute for Artificial Intelligence for his PhD done in 2008. Legg was appointed Commander of the Order of the British Empire (CBE) in the 2019 Birthday Honours for services to the science and technology sector and to investment.
Joseph Stanislaus Ostoja-Kotkowski
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
Pretext
A pretext (adj.: pretextual) is an excuse to do something or say something that is not accurate. Pretexts may be based on a half-truth or developed in the context of a misleading fabrication. Pretexts have been used to conceal the true purpose or rationale behind actions and words. They are often heard in political speeches. In US law, a pretext usually describes false reasons that hide the true intentions or motivations for a legal action. If a party can establish a prima facie case for the proffered evidence, the opposing party must prove that these reasons were "pretextual" or false. This can be accomplished by directly demonstrating that the motivations behind the presentation of evidence is false, or indirectly by evidence that the motivations are not "credible". In Griffith v. Schnitzer, an employment discrimination case, a jury award was reversed by a Court of Appeals because the evidence was not sufficient that the defendant's reasons were "pretextual". That is, the defendant's evidence was either undisputed, or the plaintiff's was "irrelevant subjective assessments and opinions". A "pretextual" arrest by law enforcement officers is one carried out for illegal purposes such as to conduct an unjustified search and seizure. As one example of pretext, in the 1880s, the Chinese government raised money on the pretext of modernizing the Chinese navy. Instead, these funds were diverted to repair a ship-shaped, two-story pavilion which had been originally constructed for the mother of the Qianlong Emperor. This pretext and the Marble Barge are famously linked with Empress Dowager Cixi. This architectural folly, known today as the Marble Boat (Shifang), is "moored" on Lake Kunming in what the empress renamed the "Garden for Cultivating Harmony" (Yiheyuan). Another example of pretext was demonstrated in the speeches of the Roman orator Cato the Elder (234–149 BC). For Cato, every public speech became a pretext for a comment about Carthage. The Roman statesman had come to believe that the prosperity of ancient Carthage represented an eventual and inevitable danger to Rome. In the Senate, Cato famously ended every speech by proclaiming his opinion that Carthage had to be destroyed (Carthago delenda est). This oft-repeated phrase was the ultimate conclusion of all logical argument in every oration, regardless of the subject of the speech. This pattern persisted until his death in 149, which was the year in which the Third Punic War began. In other words, any subject became a pretext for reminding his fellow senators of the dangers Carthage represented. == Uses in warfare == The early years of Japan's Tokugawa shogunate were unsettled, with warring factions battling for power. The causes for the fighting were in part pretextual, but the outcome brought diminished armed conflicts after the Siege of Osaka in 1614–1615. The next two-and-a-half centuries of Japanese history were comparatively peaceful under the successors of Tokugawa Ieyasu and the bakufu government he established. === United States === During the War of 1812, US President James Madison was often accused of using impressment of American sailors by the Royal Navy as a pretext to invade Canada. The sinking of the USS Maine in 1898 was blamed on the Spanish, despite early reports of it having been an accident, contributing to U.S. entry into the Spanish–American War. The slogan "Remember the Maine! To hell with Spain!" was used as a rallying cry. Some have argued that United States President Franklin D. Roosevelt used the attack on Pearl Harbor by Japanese forces on December 7, 1941, as a pretext to enter World War II. American soldiers and supplies had been assisting British and Soviet operations for almost a year by this point, and the United States had thus "chosen a side", but due to the political climate in the States at the time and some campaign promises made by Roosevelt that he would not send American troops to fight in foreign wars, Roosevelt could not declare war for fear of public backlash. The attack on Pearl Harbor united the American people's resolve against the Axis powers and created the bellicose atmosphere in which to declare war. The 1964 Gulf of Tonkin incident, later revealed to have been partly provoked and partly not to have happened, was used to bring the United States fully into the Vietnam War. United States President George W. Bush used the September 11 attacks and faulty intelligence about the existence of weapons of mass destruction as a pretext for the war in Iraq. == Social engineering == A type of social engineering called pretexting uses a pretext to elicit information fraudulently from a target. The pretext in this case includes research into the identity of a certain authorized person or personality type in order to establish legitimacy in the mind of the target.