Marcus Hutter (born 14 April 1967 in Munich) is a German computer scientist, professor and artificial intelligence researcher. As a senior researcher at DeepMind, he studies the mathematical foundations of artificial general intelligence. Hutter studied physics and computer science at the Technical University of Munich. In 2000, he joined Jürgen Schmidhuber's group at the Dalle Molle Institute for Artificial Intelligence Research in Manno, Switzerland. He developed a mathematical formalism of artificial general intelligence named AIXI. He has served as a professor at the College of Engineering, Computing and Cybernetics of the Australian National University in Canberra, Australia. == Research == Starting in 2000, Hutter developed and published a mathematical theory of artificial general intelligence, AIXI, based on idealised intelligent agents and reward-motivated reinforcement learning. His first book Universal Artificial Intelligence: Sequential Decisions Based on Algorithmic Probability was published in 2005 by Springer. Also in 2005, Hutter published with his doctoral student Shane Legg an intelligence test for artificial intelligence devices. In 2009, Hutter developed and published the theory of feature reinforcement learning. In 2014, Lattimore and Hutter published an asymptotically optimal extension of the AIXI agent. An accessible podcast with Lex Fridman about his theory of Universal AI appeared in 2021 and a more technical follow-up with Tim Nguyen in 2024 in the Cartesian Cafe. His new (2024) book also gives a more accessible introduction to Universal AI and progress in the 20 years since his first book, including a chapter on ASI safety, which featured as a keynote at the inaugural workshop on AI safety in Sydney. == Hutter Prize == In 2006, Hutter announced the Hutter Prize for Lossless Compression of Human Knowledge, with a total of €50,000 in prize money. In 2020, Hutter raised the prize money for the Hutter Prize to €500,000.
List of software palettes
This is a list of software palettes used by computers. Systems that use a 4-bit or 8-bit pixel depth can display up to 16 or 256 colors simultaneously. Many personal computers in the early 1990s displayed at most 256 different colors, freely selected by software (either by the user or by a program) from their wider hardware's RGB color palette. Usual selections of colors in limited subsets (generally 16 or 256) of the full palette includes some RGB level arrangements commonly used with the 8-bit palettes as master palettes or universal palettes (i.e., palettes for multipurpose uses). These are some representative software palettes, but any selection can be made in such of systems. For specific hardware color palettes, see the list of monochrome and RGB palettes, list of 8-bit computer hardware graphics, the list of 16-bit computer hardware graphics and the list of video game console palettes articles. Each palette is represented by an array of color patches. A one-pixel size version appears below each palette, to make it easy to compare palette sizes. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 8-bit, 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 8-bit, 256 levels grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. == System specifics == These are selections of colors officially employed as system palettes in some popular operating systems for personal computers that support 8-bit displays. === Microsoft Windows and IBM OS/2 default 16-color palette === Used by these platforms as a roughly backward compatible palette for the CGA, EGA and VGA text modes, but with colors arranged in a different order. Also, is the default palette for 16 color icons. The corresponding indices into this palette are: === Microsoft Windows default 20-color palette === In 256-color mode, there are four additional standard Windows colors, twenty system reserved colors in total; thus the system leaves 236 palette indexes free for applications to use. The system color entries inside a 256-color palette table are the first ten plus the last ten. In any case, the additional system colors do not seem to add a sharp color richness: they are only some intermediate shades of grayish colors. Since Windows 95, these additional colors can be changed by the system when a color scheme needs custom colors, reducing their utility as static, unchanging palette entries. The complete 20-color Windows system palette is: === Apple Macintosh default 16-color palette === When Apple Computer introduced the Macintosh II in 1987, this 16-color palette was included in System 4.1. === RISC OS default palette === Acorn RISC OS 2.x and 3.x provided this 16-color palette: === Solaris default 16-color palette === Solaris OS used this color palette: == RGB arrangements == These are selections of colors based in evenly ordered RGB levels which provide complete RGB combinations, mainly used as master palettes to display any kind of image within the limitations of the 8-bit pixel depth. === 6 level RGB === Having six levels for every primary, with 6³ = 216 combinations. The index can be addressed by (36×R)+(6×G)+B, with all R, G and B values in a range from 0 to 5. Intended as homogeneous RGB cube, it gives six true grays. Also, there is room for another sorts of 40 colors, so operating systems or programs can add extra colors. Systems that use this software palette are: Web-safe colors Apple Macintosh 256 color default palette. It also contains four gradients of ten shades each for gray, red, green and blue. === 6-7-6 levels RGB === This palette is constructed with six levels for red and blue primaries and seven levels for the green primary, giving 6×7×6 = 252 combinations. The index can be addressed by (42×R)+(6×G)+B, with R and B values in a range from 0 to 5 and G in a range from 0 to 6. The same case as the former, but with an added level of green due to the greater sensibility of the normal human eye to this frequency. It does not provide true grays, but remaining indexes can be filled with four intermediate grays. In any case, there is little room for any other color. === 6-8-5 levels RGB === This palette is constructed with six levels for red, eight levels for green and five levels for the blue primaries, giving 6×8×5 = 240 combinations. The index can be addressed by (40×R)+(5×G)+B, with R ranging from 0 to 5, G from 0 to 7 and B from 0 to 4. Levels are chosen in function of sensibility of the normal human eye to every primary color. Also, it does not provide true grays. Remaining indexes can be filled with sixteen intermediate grays or other fixed colors. In fact, this is the best balanced RGB master software palette, in a compromise between the RGB arrangement based in the human eye's sensibility and a sufficient remaining palette entries for another purposes. === 8-8-4 levels RGB === The 8-8-4 level RGB use eight levels for each of the red and green color components (3+3 high order bits), and four levels (2 low order bits) for the blue component, due to the lesser sensitivity of the normal human eye to this primary color. This results in an 8×8×4 = 256-color palette as follows: This RGB software palette occupies the full 8-bit range of possible palette entries, so there is no room for other fixed colors. Software using this palette must draw their user interface elements with the same colors used to show pictures. Also again, it does not provide true grays. == Other common uses of software palettes == === Grayscale palettes === Simple palette made doing every triplet RGB primaries having equal values as a continuous gradient from black to white through the full available palette entries. Here is the 8-bit, 256 levels palette: Used to display pure grayscale TIFF or JPEG images, for example. === Color gradient palettes === Palettes made of a continuous color gradient from darkest to lightest arbitrary hues. The pixel data is treated as if it were grayscale, but the color table plays with RGB color combinations, not only gray. The relationship between the original luminance and the mapped one can vary, but the lighting scale is preserved along all the palette entries. One very common case of such palettes is the sepia tone palette, which gives an image an old fashioned and aged look (left). Another gradient example, based on blue hues, is presented here (right), but any hue or mixing of hues can be used. Many cell phones with built-in cameras have options to take colorized photos using this technique. === Adaptive palettes === Those whose whole number of available indexes are filled with RGB combinations selected from the statistical order of appearance (usually balanced) of a concrete full true color original image. There exist many algorithms to pick the colors through color quantization; one well known is the Heckbert's median-cut algorithm. Here is the 8-bit, 256 color palette used with the color test chart and the image sample above: Adaptive palettes only work well with a unique image. Trying to display different images with adaptive palettes over an 8-bit display usually results in only one image with correct colors, because the images have different palettes and only one can be displayed at a time. Here is an example of what happens when an indexed color image is displayed with any color palette that is not its own adaptive palette: === False color palettes === Arbitrary gradient color scales, usually 256 shades, with no relationship with real colors of a given image. They are employed to artificially colorize a grayscale image to reveal details and/or to map the pixel level values to amounts of some physical magnitude (potential, temperature, altitude, etc.) Note, in the example above, that new details can be seen as blue over magenta in the background's dark areas of the original photograph. Here is the 8-bit, 256 color gradient palette used with the color test chart and the image sample above: There exist many false color palettes, some of them standardized, used mainly in scientific applications: astronomy and radioastronomy, satellite land imaging, thermography, study of materials, tomography and magnetic resonance imaging in medicine, etc.
Text normalization
Text normalization is the process of transforming text into a single canonical form that it might not have had before. Normalizing text before storing or processing it allows for separation of concerns, since input is guaranteed to be consistent before operations are performed on it. Text normalization requires being aware of what type of text is to be normalized and how it is to be processed afterwards; there is no all-purpose normalization procedure. == Applications == Text normalization is frequently used when converting text to speech. Numbers, dates, acronyms, and abbreviations are non-standard "words" that need to be pronounced differently depending on context. For example: "$200" would be pronounced as "two hundred dollars" in English, but as "lua selau tālā" in Samoan. "vi" could be pronounced as "vie," "vee," or "the sixth" depending on the surrounding words. Text can also be normalized for storing and searching in a database. For instance, if a search for "resume" is to match the word "résumé," then the text would be normalized by removing diacritical marks; and if "john" is to match "John", the text would be converted to a single case. To prepare text for searching, it might also be stemmed (e.g. converting "flew" and "flying" both into "fly"), canonicalized (e.g. consistently using American or British English spelling), or have stop words removed. == Techniques == For simple, context-independent normalization, such as removing non-alphanumeric characters or diacritical marks, regular expressions would suffice. For example, the sed script sed ‑e "s/\s+/ /g" inputfile would normalize runs of whitespace characters into a single space. More complex normalization requires correspondingly complicated algorithms, including domain knowledge of the language and vocabulary being normalized. Among other approaches, text normalization has been modeled as a problem of tokenizing and tagging streams of text and as a special case of machine translation. == Textual scholarship == In the field of textual scholarship and the editing of historic texts, the term "normalization" implies a degree of modernization and standardization – for example in the extension of scribal abbreviations and the transliteration of the archaic glyphs typically found in manuscript and early printed sources. A normalized edition is therefore distinguished from a diplomatic edition (or semi-diplomatic edition), in which some attempt is made to preserve these features. The aim is to strike an appropriate balance between, on the one hand, rigorous fidelity to the source text (including, for example, the preservation of enigmatic and ambiguous elements); and, on the other, producing a new text that will be comprehensible and accessible to the modern reader. The extent of normalization is therefore at the discretion of the editor, and will vary. Some editors, for example, choose to modernize archaic spellings and punctuation, but others do not. An edition of a text might be normalized based on internal criteria, where orthography is standardized according to the language of the original, or external criteria, where the norms of a different time period are applied. For an example of the latter, a published edition of a medieval Icelandic manuscript might be normalized to the conventions of modern Icelandic, or it might be normalized to Classical Old Icelandic. Standards of normalization vary based on language of the edition as well as the specific conventions of the publisher.
Fred (chatbot)
Fred, or FRED, was an early chatbot written by Robby Garner. == History == The name Fred was initially suggested by Karen Lindsey, and then Robby jokingly came up with an acronym, "Functional Response Emulation Device." Fred has also been implemented as a Java application by Paco Nathan called JFRED Archived 2008-08-24 at the Wayback Machine. Fred Chatterbot is designed to explore Natural Language communications between people and computer programs. In particular, this is a study of conversation between people and ways that a computer program can learn from other people's conversations to make its own conversations. Fred used a minimalistic "stimulus-response" approach. It worked by storing a database of statements and their responses, and made its own reply by looking up the input statements made by a user and then rendering the corresponding response from the database. This approach simplified the complexity of the rule base, but required expert coding and editing for modifications. Fred was a predecessor to Albert One, which Garner used in 1998 and 1999 to win the Loebner Prize.
GPT-4Chan
Generative Pre-trained Transformer 4Chan (GPT-4chan) is a controversial AI model that was developed and deployed by YouTuber and AI researcher Yannic Kilcher in June 2022. The model is a large language model, which means it can generate text based on some input, by fine-tuning GPT-J with a dataset of millions of posts from the /pol/ board of 4chan, an anonymous online forum known for occasionally hosting hateful and extremist content. The model learned to mimic the style and tone of /pol/ users, producing text that is often intentionally offensive to groups (racist, sexist, homophobic, etc.) and nihilistic. Kilcher deployed the model on the /pol/ board itself, where it interacted with other users without revealing its identity. He also made the model publicly available on Hugging Face, a platform for sharing and using AI models, until it was removed from the platform. The project sparked criticism and debate in the AI community. Some people questioned the ethics, legality, and social impact of creating and distributing such a model. Some of the issues raised by the GPT-4chan controversy include the potential harm of spreading hate speech, the responsibility of AI developers and platforms, the need for regulation and oversight of AI models, and the role of open source and transparency in AI research. == Development == The development of GPT-4chan began in May 2022, when Kilcher announced his project on his YouTube channel. Notably, at the time before ChatGPT, he explained that he wanted to create a large language model that could generate realistic and coherent text in the style of /pol/, one of the most notorious online communities. He indicated that he was inspired by the success of GPT-3, a powerful AI model created by OpenAI, and GPT-J, an open-source model, with GPT-3 comparable performance, released by EleutherAI, a group of independent AI researchers. Kilcher decided to use GPT-J as the base model for his project, and fine-tune it with a large dataset of /pol/ posts. The Raiders of the Lost Kek dataset contained over 100 million posts from /pol/, spanning from June 2016-November 2019. Kilcher then proceeded to fine-tune the GPT-J model on the 4chan data. He also showed some examples of the model’s outputs, which ranged from political opinions, conspiracy theories, jokes, insults, and threats, to more creative and bizarre texts, such as poems, stories, songs, and code. He said that he was impressed by the model’s ability to generate fluent and diverse text, and that he was curious to see how it would interact with real /pol/ users. == Release == In June 2022, Kilcher deployed his model on the /pol/ board itself, using a bot that he programmed to post and reply to threads. He did not reveal the model’s identity, and he let it run autonomously, without any human supervision or intervention. He wanted to conduct a natural experiment, and to observe the model’s behavior and impact in a real-world setting. Furthermore, he also wanted to test the model’s robustness, and to see how it would handle the challenges and dynamics of /pol/, such as trolling, flaming, baiting, and moderation. At the same time, Kilcher also made his model publicly available on Hugging Face, a platform for sharing and using AI models. He wanted to share his work with the AI community and the public, and that he hoped that his model would inspire and enable others to create and explore new applications and possibilities with large language models. Likewise, he also said that he wanted to spark a discussion and a debate about the ethical and social implications of his project, and that he welcomed feedback and criticism from anyone. He provided a link to his model’s page on Hugging Face, where anyone could access and use the model through a web interface or an API, and also provided a link to his GitHub repository, where anyone could download and inspect the model’s code and data. == Controversy == The release of GPT-4chan to the public caused a lot of reactions and responses from various audiences. On the /pol/ board, the model’s posts and replies attracted a lot of attention and engagement from other users, who were mostly unaware of the model’s identity and nature. Some users praised the model for its intelligence, creativity, and humor, and agreed with its opinions and views. Some users challenged the model for its ignorance, inconsistency, and absurdity, and disagreed with its claims and arguments. Some users tried to troll, bait, or expose the model, and attempted to trick or test it with various questions and scenarios. The model’s posts and replies also generated a lot of controversy and conflict among the users, who often engaged in heated and violent debates and fights with each other. On Hugging Face, the model’s page received a lot of visits and requests from users who wanted to try out and experiment with the model. The model’s page also received a lot of feedback and reviews from users who rated and commented on the model. However, with the controversy of the model, access to it was gated and then disabled on Hugging Face for concerns about the potential harm the model could cause. The incident was notable for the direct intervention of CEO Clément Delangue in the talk pages, a very unusual occurrence compared to the normal practices of content moderation. The release of GPT-4chan also sparked a lot of media coverage and public attention, as various news outlets and social media platforms reported and commented on the model’s project. On YouTube, the model’s video received a lot of views and interactions from viewers who watched and followed the project. Furthermore, a petition condemning the deployment of GPT-4chan gained over 300 signatures from technology experts.
Digital Image Processing with Sound
DIPS (Digital Image Processing with Sound) is a set of plug-in objects that handle real-time digital image processing in Max/MSP programming environment. Combining with the built-in objects of the environment, DIPS enables to program the interaction between audio and visual events with ease, and supports the realization of interactive multimedia art as well as interactive computer music. == Summary of Features == A plug-in software for Max/MSP (Max 5 and 6) More than 300 Max external objects and abstractions More than 90 OpenGL objects included More than 110 visual effect objects (Dfx library, Core Image Filters) A utility library for the easy of programming (prefix Dlib) A comprehensive set of sample patches, and a detailed tutorial Handling images & movie files (QuickTime, OpenGL) Render and move 3D models (OpenGL) Video signal input (QuickTime, video texture) Video input analysis: motion detect, face tracking (OpenCV, OpenGL) Importing 3D models (.obj file) Importing Quartz Composer files OpenGL Shading Language (GLSL) programming interface Easy integration of visual events using DIPSWindowMixer (OpenGL) == Description == DIPS is a free plug-in software (a set of external objects) for Max/MSP. It supports the designing of the interaction between sound and visual events in Max using Apple’s Core Image, OpenGL and OpenCV technologies, and consequently, provides a powerful and user-friendly programming environment for the creation of interactive multimedia art. DIPS can be used to detect a performer’s motions and to track positions of subtle details, such as the face, mouth, and eyes. It can also be used to measure the distance between objects and a Kinect sensor system, and offers powerful tools for realtime image processing of incoming video stream and stored movie files. In addition, it can be used to create complex images in a virtual three-dimensional space. The DIPS consists of a library of more than 300 Max external objects and abstractions, a comprehensive set of sample patches, and a detailed tutorial. Some of its strong points, in comparison with other similar plug-ins and software, are its ease of programming, power, and efficiency. The sample patches and tutorial contained in the installation package allows composers and artists who are interested in the creation of interactive art to realize sophisticated realtime video effects on a live video signal at their first practice. And because of its ease of programming, it is likely that one will soon acquire skills needed to create state-of-the-art interactive performance works, multimedia installations, interactive multimedia artworks, and Max VJ applications using DIPS. == History == Initially developed by Shu Matsuda in 1997, DIPS was a plug-in software for Max/FTS running on SGI Octane and O2 computers. Since 2000, it has been developed by the DIPS Development Group supervised by Takayuki Rai. Current active group members are Shu Matsuda, Yota Morimoto, Takuto Fukuda, and Keitaro Takahashi. Previously, Chikashi Miyama, Daichi Ando and Takayuki Hamano also contributed to its development. 2013 DIPS5 for Max (Mac OS X) 2009 DIPS4 for Max/MSP (Mac OS X) 2006 DIPS3 for Max/MSP (Mac OS X) 2003 DIPS2 for jMax4 (Mac OS X) 2002 DIPS for jMax2 (Mac OS X & Linux) 2000 DIPS for jMax (Linux)
Photometric stereo
Photometric stereo is a technique in computer vision for estimating the surface normals of objects by observing that object under different lighting conditions (photometry). It is based on the fact that the amount of light reflected by a surface is dependent on the orientation of the surface in relation to the light source and the observer. By measuring the amount of light reflected into a camera, the space of possible surface orientations is limited. Given enough light sources from different angles, the surface orientation may be constrained to a single orientation or even overconstrained. The technique was originally introduced by Woodham in 1980. The special case where the data is a single image is known as shape from shading, and was analyzed by B. K. P. Horn in 1989. Photometric stereo has since been generalized to many other situations, including extended light sources and non-Lambertian surface finishes. Current research aims to make the method work in the presence of projected shadows, highlights, and non-uniform lighting. Photometric stereo is widely used in various fields, including archaeology, cultural heritage conservation, and quality control. It is now integrated into widely used open-source software, such as Meshroom. == Basic method == Under Woodham's original assumptions — Lambertian reflectance, known point-like distant light sources, and uniform albedo — the problem can be solved by inverting the linear equation I = L ⋅ n {\displaystyle I=L\cdot n} , where I {\displaystyle I} is a (known) vector of m {\displaystyle m} observed intensities, n {\displaystyle n} is the (unknown) surface normal, and L {\displaystyle L} is a (known) 3 × m {\displaystyle 3\times m} matrix of normalized light directions. This model can easily be extended to surfaces with non-uniform albedo, while keeping the problem linear. Taking an albedo reflectivity of k {\displaystyle k} , the formula for the reflected light intensity becomes I = k ( L ⋅ n ) . {\displaystyle I=k(L\cdot n).} If L {\displaystyle L} is square (there are exactly 3 lights) and non-singular, it can be inverted, giving L − 1 I = k n . {\displaystyle L^{-1}I=kn.} Since the normal vector is known to have length 1, k {\displaystyle k} must be the length of the vector k n {\displaystyle kn} , and n {\displaystyle n} is the normalised direction of that vector. If L {\displaystyle L} is not square (there are more than 3 lights), a generalisation of the inverse can be obtained using the Moore–Penrose pseudoinverse, by simply multiplying both sides with L T {\displaystyle L^{T}} , giving L T I = L T k ( L ⋅ n ) , {\displaystyle L^{T}I=L^{T}k(L\cdot n),} ( L T L ) − 1 L T I = k n , {\displaystyle (L^{T}L)^{-1}L^{T}I=kn,} after which the normal vector and albedo can be solved as described above. == Non-Lambertian surfaces == The classical photometric stereo problem concerns itself only with Lambertian surfaces, with perfectly diffuse reflection. This is unrealistic for many types of materials, especially metals, glass and smooth plastics, and will lead to aberrations in the resulting normal vectors. Many methods have been developed to lift this assumption. In this section, a few of these are listed. === Specular reflections === Historically, in computer graphics, the commonly used model to render surfaces started with Lambertian surfaces and progressed first to include simple specular reflections. Computer vision followed a similar course with photometric stereo. Specular reflections were among the first deviations from the Lambertian model. These are a few adaptations that have been developed. Many techniques ultimately rely on modelling the reflectance function of the surface, that is, how much light is reflected in each direction. This reflectance function has to be invertible. The reflected light intensities towards the camera is measured, and the inverse reflectance function is fit onto the measured intensities, resulting in a unique solution for the normal vector. === General BRDFs and beyond === According to the Bidirectional reflectance distribution function (BRDF) model, a surface may distribute the amount of light it receives in any outward direction. This is the most general known model for opaque surfaces. Some techniques have been developed to model (almost) general BRDFs. In practice, all of these require many light sources to obtain reliable data. These are methods in which surfaces with general BRDFs can be measured. Determine the explicit BRDF prior to scanning. To do this, a different surface is required that has the same or a very similar BRDF, of which the actual geometry (or at least the normal vectors for many points on the surface) is already known. The lights are then individually shone upon the known surface, and the amount of reflection into the camera is measured. Using this information, a look-up table can be created that maps reflected intensities for each light source to a list of possible normal vectors. This puts constraints on the possible normal vectors the surface may have, and reduces the photometric stereo problem to an interpolation between measurements. Typical known surfaces to calibrate the look-up table with are spheres for their wide variety of surface orientations. Restricting the BRDF to be symmetrical. If the BRDF is symmetrical, the direction of the light can be restricted to a cone about the direction to the camera. Which cone this is depends on the BRDF itself, the normal vector of the surface, and the measured intensity. Given enough measured intensities and the resulting light directions, these cones can be approximated and therefore the normal vectors of the surface. Some progress has been made towards modelling an even more general surfaces, such as Spatially Varying Bidirectional Distribution Functions (SVBRDF), Bidirectional surface scattering reflectance distribution functions (BSSRDF), and accounting for interreflections. However, such methods are still fairly restrictive in photometric stereo. Better results have been achieved with structured light. == Uncalibrated photometric stereo == Uncalibrated Photometric Stereo is an approach in photometric stereo that aims to reconstruct the 3D shape of an object from images captured under unknown lighting conditions. Unlike classical methods, which often assume controlled or known lighting setups, this approach removes these constraints, making it adaptable to diverse and real-world environments. The advent of deep learning has revolutionized universal PS by replacing handcrafted assumptions with data-driven models. Recent approaches leverage Transformer-based architectures and multi-scale encoder–decoder networks to directly estimate surface normals from input images. Uncalibrated Photometric Stereo is inherently an ill-posed problem, as it attempts to recover 3D shape and lighting conditions simultaneously from images alone. This leads to fundamental ambiguities in the reconstruction process, which manifest as systematic errors in the recovered geometry, including global distortions in the object's overall shape, and misinterpretation of surface orientation, where concave regions may appear convex and vice versa. To address the challenges of uncalibrated photometric stereo, hybrid methods have emerged that combine multi-view stereo and photometric stereo. These approaches leverage the strengths of both techniques, including geometric reliability and resolution.