A software development process prescribes a process for developing software. It typically divides an overall effort into smaller steps or sub-processes that are intended to ensure high-quality results. The process may describe specific deliverables – artifacts to be created and completed. Although not strictly limited to it, software development process often refers to the high-level process that governs the development of a software system from its beginning to its end of life – known as a methodology, model or framework. The system development life cycle (SDLC) describes the typical phases that a development effort goes through from the beginning to the end of life for a system – including a software system. A methodology prescribes how engineers go about their work in order to move the system through its life cycle. A methodology is a classification of processes or a blueprint for a process that is devised for the SDLC. For example, many processes can be classified as a spiral model. Software process and software quality are closely interrelated; some unexpected facets and effects have been observed in practice. == Methodology == The SDLC drives the definition of a methodology in that a methodology must address the phases of the SDLC. Generally, a methodology is designed to result in a high-quality system that meets or exceeds expectations (requirements) and is delivered on time and within budget even though computer systems can be complex and integrate disparate components. Various methodologies have been devised, including waterfall, spiral, agile, rapid prototyping, incremental, and synchronize and stabilize. A major difference between methodologies is the degree to which the phases are sequential vs. iterative. Agile methodologies, such as XP and scrum, focus on lightweight processes that allow for rapid changes. Iterative methodologies, such as Rational Unified Process and dynamic systems development method, focus on stabilizing project scope and iteratively expanding or improving products. Sequential or big-design-up-front (BDUF) models, such as waterfall, focus on complete and correct planning to guide larger projects and limit risks to successful and predictable results. Anamorphic development is guided by project scope and adaptive iterations. In scrum, for example, one could say a single user story goes through all the phases of the SDLC within a two-week sprint. By contrast the waterfall methodology, where every business requirement is translated into feature/functional descriptions which are then all implemented typically over a period of months or longer. A project can include both a project life cycle (PLC) and an SDLC, which describe different activities. According to Taylor (2004), "the project life cycle encompasses all the activities of the project, while the systems development life cycle focuses on realizing the product requirements". === History === The term SDLC is often used as an abbreviated version of SDLC methodology. Further, some use SDLC and traditional SDLC to mean the waterfall methodology. According to Elliott (2004), SDLC "originated in the 1960s, to develop large scale functional business systems in an age of large scale business conglomerates. Information systems activities revolved around heavy data processing and number crunching routines". The structured systems analysis and design method (SSADM) was produced for the UK government Office of Government Commerce in the 1980s. Ever since, according to Elliott (2004), "the traditional life cycle approaches to systems development have been increasingly replaced with alternative approaches and frameworks, which attempted to overcome some of the inherent deficiencies of the traditional SDLC". The main idea of the SDLC has been "to pursue the development of information systems in a very deliberate, structured and methodical way, requiring each stage of the life cycle––from the inception of the idea to delivery of the final system––to be carried out rigidly and sequentially" within the context of the framework being applied. Other methodologies were devised later: 1970s Structured programming since 1969 Cap Gemini SDM, originally from PANDATA, the first English translation was published in 1974. SDM stands for System Development Methodology 1980s Structured systems analysis and design method (SSADM) from 1980 onwards Information Requirement Analysis/Soft systems methodology 1990s Object-oriented programming (OOP) developed in the early 1960s and became a dominant programming approach during the mid-1990s Rapid application development (RAD), since 1991 Dynamic systems development method (DSDM), since 1994 Scrum, since 1995 Team software process, since 1998 Rational Unified Process (RUP), maintained by IBM since 1998 Extreme programming, since 1999 2000s Agile Unified Process (AUP) maintained since 2005 by Scott Ambler Disciplined agile delivery (DAD) Supersedes AUP 2010s Scaled Agile Framework (SAFe) Large-Scale Scrum (LeSS) DevOps Since DSDM in 1994, all of the methodologies on the above list except RUP have been agile methodologies - yet many organizations, especially governments, still use pre-agile processes (often waterfall or similar). === Examples === The following are notable methodologies somewhat ordered by popularity. Agile Agile software development refers to a group of frameworks based on iterative development, where requirements and solutions evolve via collaboration between self-organizing cross-functional teams. The term was coined in the year 2001 when the Agile Manifesto was formulated. Waterfall The waterfall model is a sequential development approach, in which development flows one-way (like a waterfall) through the SDLC phases. Spiral In 1988, Barry Boehm published a software system development spiral model, which combines key aspects of the waterfall model and rapid prototyping, in an effort to combine advantages of top-down and bottom-up concepts. It emphases a key area many felt had been neglected by other methodologies: deliberate iterative risk analysis, particularly suited to large-scale complex systems. Incremental Various methods combine linear and iterative methodologies, with the primary objective of reducing inherent project risk by breaking a project into smaller segments and providing more ease-of-change during the development process. Prototyping Software prototyping is about creating prototypes, i.e. incomplete versions of the software program being developed. Rapid Rapid application development (RAD) is a methodology which favors iterative development and the rapid construction of prototypes instead of large amounts of up-front planning. The "planning" of software developed using RAD is interleaved with writing the software itself. The lack of extensive pre-planning generally allows software to be written much faster and makes it easier to change requirements. Shape Up Shape Up is a software development approach introduced by Basecamp in 2018. It is a set of principles and techniques that Basecamp developed internally to overcome the problem of projects dragging on with no clear end. Its primary target audience is remote teams. Shape Up has no estimation and velocity tracking, backlogs, or sprints, unlike waterfall, agile, or scrum. Instead, those concepts are replaced with appetite, betting, and cycles. As of 2022, besides Basecamp, notable organizations that have adopted Shape Up include UserVoice and Block. Chaos Chaos model has one main rule: always resolve the most important issue first. Incremental funding Incremental funding methodology - an iterative approach. Lightweight Lightweight methodology - a general term for methods that only have a few rules and practices. Structured systems analysis and design Structured systems analysis and design method - a specific version of waterfall. Slow programming As part of the larger slow movement, emphasizes careful and gradual work without (or minimal) time pressures. Slow programming aims to avoid bugs and overly quick release schedules. V-Model V-Model (software development) - an extension of the waterfall model. Unified Process Unified Process (UP) is an iterative software development methodology framework, based on Unified Modeling Language (UML). UP organizes the development of software into four phases, each consisting of one or more executable iterations of the software at that stage of development: inception, elaboration, construction, and guidelines. === Comparison === The waterfall model describes the SDLC phases such that each builds on the result of the previous one. Not every project requires that the phases be sequential. For relatively simple projects, phases may be combined or overlapping. Alternative methodologies to waterfall are described and compared below. == Process meta-models == Some process models are abstract descriptions for evaluating, comparing, and improving the specific process adopted by an organization. ISO/IEC 12207 ISO/IEC 12207 i
Region Based Convolutional Neural Networks
Region-based Convolutional Neural Networks (R-CNN) are a family of machine learning models for computer vision, and specifically object detection and localization. The original goal of R-CNN was to take an input image and produce a set of bounding boxes as output, where each bounding box contains an object and also the category (e.g. car or pedestrian) of the object. In general, R-CNN architectures perform selective search over feature maps outputted by a CNN. R-CNN has been extended to perform other computer vision tasks, such as: tracking objects from a drone-mounted camera, locating text in an image, and enabling object detection in Google Lens. Mask R-CNN is also one of seven tasks in the MLPerf Training Benchmark, which is a competition to speed up the training of neural networks. == History == The following covers some of the versions of R-CNN that have been developed. November 2013: R-CNN. April 2015: Fast R-CNN. June 2015: Faster R-CNN. March 2017: Mask R-CNN. December 2017: Cascade R-CNN is trained with increasing Intersection over Union (IoU, also known as the Jaccard index) thresholds, making each stage more selective against nearby false positives. June 2019: Mesh R-CNN adds the ability to generate a 3D mesh from a 2D image. == Architecture == For review articles see. === Selective search === Given an image (or an image-like feature map), selective search (also called Hierarchical Grouping) first segments the image by the algorithm in (Felzenszwalb and Huttenlocher, 2004), then performs the following: Input: (colour) image Output: Set of object location hypotheses L Segment image into initial regions R = {r1, ..., rn} using Felzenszwalb and Huttenlocher (2004) Initialise similarity set S = ∅ foreach Neighbouring region pair (ri, rj) do Calculate similarity s(ri, rj) S = S ∪ s(ri, rj) while S ≠ ∅ do Get highest similarity s(ri, rj) = max(S) Merge corresponding regions rt = ri ∪ rj Remove similarities regarding ri: S = S \ s(ri, r∗) Remove similarities regarding rj: S = S \ s(r∗, rj) Calculate similarity set St between rt and its neighbours S = S ∪ St R = R ∪ rt Extract object location boxes L from all regions in R === R-CNN === With R-CNN, prediction follows a two-step process. A preprocessing selective search step generates a large set of candidate objects (typically as many as 2000), known as regions of interest (ROI). These are forwarded to a CNN, which predicts an object class score and bounding box estimate, independently for each ROI. Importantly, the ROIs are heavily filtered to remove excess candidates. This is achieved using two mechanism. Filtering begins by removing ROIs assigned to the background category. This is a specialized category, which is scored by the CNN alongside other categories. An unfortunate reality is that remaining ROIs typically suffer from heavy duplication. Namely, multiple ROIs that cover same objects in the image are all assigned non-background categories. This is resolved by a heuristic non-maximum suppression (NMS) step. === Fast R-CNN === While the original R-CNN independently computed the neural network features on each of as many as two thousand regions of interest, Fast R-CNN runs the neural network once on the whole image. At the end of the network is a ROIPooling module, which slices out each ROI from the network's output tensor, reshapes it, and classifies it. As in the original R-CNN, the Fast R-CNN uses selective search to generate its region proposals. === Faster R-CNN === While Fast R-CNN used selective search to generate ROIs, Faster R-CNN integrates the ROI generation into the neural network itself. === Mask R-CNN === While previous versions of R-CNN focused on object detections, Mask R-CNN adds instance segmentation. Mask R-CNN also replaced ROIPooling with a new method called ROIAlign, which can represent fractions of a pixel.
The Future of Truth (Rosenbaum book)
The Future of Truth: How AI Reshapes Reality is a 2026 book by American filmmaker and author Steven Rosenbaum about how artificial intelligence affects the concept of truth. It was published by Matt Holt Books on May 12, 2026, to positive media attention; on May 19, in response to an inquiry from The New York Times, Rosenbaum acknowledged that the book itself contains multiple misattributed or false quotes that were hallucinated by AIs. == Synopsis == == Development == Rosenbaum has said that he developed the book using AI chatbots as research tools, indicating in his notes what information came from AI and sending those claims to a fact-checker affiliated with the publisher. He has said that he did not use AI tools to write the book itself. He has described AI tools as "a delightful writing companion ... strangely creative and crafty and unusual in all these ways", while acknowledging that sometimes "then it betrays you in ways that are just really quite horrible". Journalist and Nobel laureate Maria Ressa wrote the book's foreword. Taylor Lorenz, Michael Wolff, and Nicholas Thompson wrote blurbs promoting it. == Release and reception == The Future of Truth was published by Matt Holt Books, an imprint of BenBella Books, and distributed by Simon & Schuster. The book's release on May 12, 2026, was described by Futurism as "buzzy" and by The New York Times as "to great fanfare". On May 14, an excerpt was published in Wired under the title "Gen Z Is Pioneering a New Understanding of Truth". On May 17, the Times contacted Rosenbaum regarding a number of quotes that appeared to be falsified or misattributed; the following evening he confirmed that they were the result of AI hallucinations:As I disclosed in the book's acknowledgments, I used AI tools ChatGPT and Claude during the research, writing and editing process. That does not excuse these errors, of which I take full responsibility. I am now working with the editors to thoroughly review and quickly correct any affected passages; any future editions will be corrected. The Times documented several of the errors, including a quote from Kara Swisher that Swisher described as making it "sound like I have a stick up my butt" and a quote from Lisa Feldman Barrett that Barrett described as misrepresenting her views on the nature of emotions, social signals, and truth. The book also misattributed a quote by Meredith Broussard from an interview with Marketplace Tech as having been from her book Artificial Unintelligence and hallucinated several words in a quote from Lee McIntyre, although according to McIntyre it did not misrepresent his views. Wired's editors, in an addendum to the excerpt they published, said that all quotes included in it had been verified as part of their fact-checking process. Rosenbaum told the Times that the series of errors "serves as a warning about the risks of AI-assisted research and verification, that is why I wrote the book. These AI errors do not, in fact, diminish the larger questions that the book raises about truth, trust and AI and its impact on society, democracy and editorial." Maggie Harrison Dupré in Futurism expressed skepticism, writing "The risk of AI hallucinations ... is well-known. If you're going to literally write the book on post-AI truth, you should probably put some more elbow grease into fact-checking your AI-assisted research." Kyle Orland in Ars Technica, responding to Rosenbaum's statement that his error "demonstrates the problem more vividly than any abstract argument could", was similarly skeptical, writing that "if we accept this take, every avoidably obvious mess in the world might be a disguised good because it really helps illuminate the huge mistake. And that can't be right; sometimes 'negligence' is just that." Subsequent comments by Rosenbaum placed more blame on the chatbots, which he told The Atlantic "fucked up the book". Rosenbaum told Ars Technica that fact-checking occurred "incredibly effectively, but not a hundred percent"; Orland observed that "it's worth noting that most writers manage to include zero made-up quotes when they write a book". Rosenbaum said that he had "learned a lesson" and would be "much more suspicious" of AI in the future, but would continue to use AI in his research. Orland responded to Rosenbaum's characterization of AI as "magical" by comparing it to the One Ring from The Lord of the Rings, in that it "convinces many of those who use it that they can control its power properly" when many cannot. Orland highlighted the limits of traditional fact-checking regarding AI, given that fact-checkers are used to assuming that direct quotes are copied word-for-word from the source. Rosenbaum told Orland that the future of fact-checking for AI-researched works "probably includes mandatory source tracing for quotations, better provenance tracking, clearer standards around AI-assisted research, and potentially (more irony here) AI tools that audit citations against primary materials". Patrick Redford in Defector criticized Rosenbaum, alongside other artists tricked by AI, for failing to recognize AI as "the enemy". Will Oremus in The Atlantic described Redford's approach of stigmatizing AI writing as "reasonable", noting the presence of low-quality, seemingly AI-generated verbiage in The Future of Truth—a claim denied by Rosenbaum—before saying that the greater issue is finding the line at which AI assistance in writing becomes a problem. Oremus concluded, "The scandal can't just be that [Rosenbaum] used AI while working on his book, because he acknowledged that up front. He got in trouble because he had used AI badly, failing to check its work on a task at which it is famously unreliable."
Conceptual dependency theory
Conceptual dependency theory is a model of natural language understanding used in artificial intelligence systems. Roger Schank at Stanford University introduced the model in 1969, in the early days of artificial intelligence. This model was extensively used by Schank's students at Yale University such as Robert Wilensky, Wendy Lehnert, and Janet Kolodner. Schank developed the model to represent knowledge for natural language input into computers. Partly influenced by the work of Sydney Lamb, his goal was to make the meaning independent of the words used in the input, i.e. two sentences identical in meaning would have a single representation. The system was also intended to draw logical inferences. The model uses the following basic representational tokens: real world objects, each with some attributes. real world actions, each with attributes times locations A set of conceptual transitions then act on this representation, e.g. an ATRANS is used to represent a transfer such as "give" or "take" while a PTRANS is used to act on locations such as "move" or "go". An MTRANS represents mental acts such as "tell", etc. A sentence such as "John gave a book to Mary" is then represented as the action of an ATRANS on two real world objects, John and Mary.
The Eye of Mexico
The Eye of Mexico (Spanish: El Ojo de México) is an outdoor sculpture in Mexico City. It is located in Ampliación Granada, Miguel Hidalgo, at the mixed-use development Neuchâtel Polanco, developed by the Canadian real estate company Ivanhoé Cambridge. The artwork was created by the Turkish artist Ferdi Alıcı and it was selected from among 350 proposals from artists from 35 countries. The project for The Eye of Mexico was developed by MIRA, a real estate investment and development company, and MASSIVart, a creative consulting agency. According to MIRA, upon its inauguration it became the first artwork in Latin America to use artificial intelligence (AI). The sculpture can read environmental and urban data using AI algorithms and transform the results into videos related to arts, science and technology. The ring was inaugurated on 20 May 2022 and it is 10 meters (33 ft) high and 3 meters (9.8 ft) wide.
Audio mining
Audio mining is a technique by which the content of an audio signal can be automatically analyzed and searched. It is most commonly used in the field of automatic speech recognition, where the analysis tries to identify any speech within the audio. The term audio mining is sometimes used interchangeably with audio indexing, phonetic searching, phonetic indexing, speech indexing, audio analytics, speech analytics, word spotting, and information retrieval. Audio indexing, however, is mostly used to describe the pre-process of audio mining, in which the audio file is broken down into a searchable index of words. == History == Academic research on audio mining began in the late 1970s in schools like Carnegie Mellon University, Columbia University, the Georgia Institute of Technology, and the University of Texas. Audio data indexing and retrieval began to receive attention and demand in the early 1990s, when multimedia content started to develop and the volume of audio content significantly increased. Before audio mining became the mainstream method, written transcripts of audio content were created and manually analyzed. == Process == Audio mining is typically split into four components: audio indexing, speech processing and recognition systems, feature extraction and audio classification. The audio will typically be processed by a speech recognition system in order to identify word or phoneme units that are likely to occur in the spoken content. This information may either be used immediately in pre-defined searches for keywords or phrases (a real-time "word spotting" system), or the output of the speech recognizer may be stored in an index file. One or more audio mining index files can then be loaded at a later date in order to run searches for keywords or phrases. The results of a search will normally be in terms of hits, which are regions within files that are good matches for the chosen keywords. The user may then be able to listen to the audio corresponding to these hits in order to verify if a correct match was found. === Audio Indexing === In audio, there is the main problem of information retrieval - there is a need to locate the text documents that contain the search key. Unlike humans, a computer is not able to distinguish between the different types of audios such as speed, mood, noise, music or human speech - an effective searching method is needed. Hence, audio indexing allows efficient search for information by analyzing an entire file using speech recognition. An index of content is then produced, bearing words and their locations done through content-based audio retrieval, focusing on extracted audio features. It is done through mainly two methods: Large Vocabulary Continuous Speech Recognition (LVCSR) and Phonetic-based Indexing. ==== Large Vocabulary Continuous Speech Recognizers (LVCSR) ==== In text-based indexing or large vocabulary continuous speech recognition (LVCSR), the audio file is first broken down into recognizable phonemes. It is then run through a dictionary that can contain several hundred thousand entries and matched with words and phrases to produce a full text transcript. A user can then simply search a desired word term and the relevant portion of the audio content will be returned. If the text or word could not be found in the dictionary, the system will choose the next most similar entry it can find. The system uses a language understanding model to create a confidence level for its matches. If the confidence level be below 100 percent, the system will provide options of all the found matches. ===== Advantages and disadvantages ===== The main draw of LVCSR is its high accuracy and high searching speed. In LVCSR, statistical methods are used to predict the likelihood of different word sequences, hence the accuracy is much higher than the single word lookup of a phonetic search. If the word can be found, the probability of the word spoken is very high. Meanwhile, while initial processing of audio takes a fair bit of time, searching is quick as just a simple test to text matching is needed. On the other hand, LVCSR is susceptible to common issues of speech recognition. The inherent random nature of audio and problems of external noise all affect the accuracies of text-based indexing. Another problem with LVCSR is its over reliance on its dictionary database. LVCSR only recognizes words that are found in their dictionary databases, and these dictionaries and databases are unable to keep up with the constant evolving of new terminology, names and words. Should the dictionary not contain a word, there is no way for the system to identify or predict it. This reduces the accuracy and reliability of the system. This is named the Out-of-vocabulary (OOV) problem. Audio mining systems try to cope with OOV by continuously updating the dictionary and language model used, but the problem still remains significant and has probed a search for alternatives. Additionally, due to the need to constantly update and maintain task-based knowledge and large training databases to cope with the OOV problem, high computational costs are incurred. This makes LVCSR an expensive approach to audio mining. ==== Phonetic-based Indexing ==== Phonetic-based indexing also breaks the audio file into recognizable phonemes, but instead of converting them to a text index, they are kept as they are and analyzed to create a phonetic-based index. The process of phonetic-based indexing can be split into two phases. The first phase is indexing. It begins by converting the input media into a standard audio representation format (PCM). Then, an acoustic model is applied to the speech. This acoustic model represents characteristics of both an acoustic channel (an environment in which the speech was uttered and a transducer through which it was recorded) and a natural language (in which human beings expressed the input speech). This produces a corresponding phonetic search track, or phonetic audio track (PAT), a highly compressed representation of the phonetic content of the input media. The second phase is searching. The user's search query term is parsed into a possible phoneme string using a phonetic dictionary. Then, multiple PAT files can be scanned at high speed during a single search for likely phonetic sequences that closely match corresponding strings of phonemes in the query term. ===== Advantages and disadvantages ===== Phonetic indexing is most attractive as it is largely unaffected by linguistic issues such as unrecognized words and spelling errors. Phonetic preprocessing maintains an open vocabulary that does not require updating. That makes it particularly useful for searching specialized terminology or words in foreign languages that do not commonly appear in dictionaries. It is also more effective for searching audio files with disruptive background noise and/or unclear utterances as it can compile results based on the sounds it can discern, and should the user wish to, they can search through the options until they find the desired item. Furthermore, in contrast to LVCSR, it can process audio files very quickly as there are very few unique phonemes between languages. However, phonemes cannot be effectively indexed like an entire word, thus searching on a phonetic-based system is slow. An issue with phonetic indexing is its low accuracy. Phoneme-based searches result in more false matches than text-based indexing. This is especially prevalent for short search terms, which have a stronger likelihood of sounding similar to other words or being part of bigger words. It could also return irrelevant results from other languages. Unless the system recognizes exactly the entire word, or understands phonetic sequences of languages, it is difficult for phonetic-based indexing to return accurate findings. === Speech processing and recognition system === Deemed as the most critical and complex component of audio mining, speech recognition requires the knowledge of human speech production system and its modeling. To correspond the Human speech production system, the electrical speech production system is developed to consist of: Speech generation Speech perception Voiced & unvoiced speech Model of human speech The electrical speech production system converts acoustic signal into corresponding representation of the spoken through the acoustic models in their software where all phonemes are represented. A statistical language model aids in the process by identifying how likely words are to follow each other in certain languages. Put together with a complex probability analysis, the speech recognition system is capable of taking an unknown speech signal and transcribing it into words based on the program's dictionary. ASR (automatic speech recognition) system includes: Acoustic analysis: input sound waveform is transformed into a feature Acoustic model: establishes relationship between speech signal and phonemes, pronunciation model and lang
Emi Kusano
Emi Kusano (Japanese: 草野 絵美, Hepburn: Kusano Emi; born August 4, 1990) is a Tokyobased Japanese multidisciplinary artist known for creating photography, video, and installations using generative AI technology. Her work explores themes of nostalgia, pop culture, and collective memory. Her work explores themes of nostalgia, pop culture, and collective memory. She is recognized as one of the early practitioners of generative AI art. Her work has been exhibited at the 21st Century Museum of Contemporary Art, Kanazawa, and screened at the M+ Museum’s Asian Avant-Garde Film Festival. Additionally, she has participated in prestigious international art fairs, including Paris Photo and Art Basel Hong Kong. In 2025, she was named one of the World Economic Forum's Young Global Leaders. In 2026, she was selected as a fellow for the AI x Arts Fellowship at Mohamed bin Zayed University of Artificial Intelligence. Kusano serves as a part-time lecturer at the Tokyo University of the Arts and is the producer and vocalist for the Synthwave music unit, Satellite Young. == Early life == === Photography === Kusano was born and raised in Tokyo. Kusano's career began during her high school years before 2008 when she became involved in street fashion photography. Her photographs, primarily taken in Harajuku, were published on "Japanese Streets", "Metropolis", CNN's travel guide magazine "CNN GO","WGSN". Her photography was exhibited at the FIT Museum in New York and the Victoria and Albert Museum in London. == Career == === Music and Installation work === Since 2014, in collaboration with BelleMaison Sekine, Kusano has led "Satellite Young," a synthwave music unit s the lead vocalist, she sings about blending 1980s idol culture with lyrics that tackle contemporary issues such as planned obsolescence ("Sony Timer"), online dating, artificial intelligence, and social media. Their music, known for its conceptual depth, has earned international niche recognition. "Satellite Young" has participated in music festivals, including "South by Southwest," showcasing their unique fusion of retro aesthetics and modern critiques. In 2018, she was selected to participate in "Art Hack Day," an interdisciplinary art hackathon held at The National Museum of Emerging Science and Innovation. where she presented "Singing Dream," a karaoke machine endowed with artificial life, earning the Jury Prize. "Instababy Generator," a 2019 installation co-created with Junichi Yamaoka, explored the concept of designer babies and received recognition at the SIGGRAPH Art Gallery. In October 2020, operating under the name Emi Satellite, she debuted as a solo singer with her first single "Glass Ceiling," an empowerment anthem that addresses the challenges faced by women and encourages progress towards the future. The music video for this song features a direction where strong women rewrite the roles of protagonists in a Bishōjo game, a type of dating simulation game. This concept later served as a prototype for Shinsei Galverse. === Challenge for Blockchain Art === In 2021, she explored the financial world through her single "IPO" and entered the NFT space with "Love Is an IPO," her first NFT work on Ethereum, sold on Foundation. In April 2022, she co-founded the crowdfunded anime project "Shinsei Galverse" with Ayaka Ohira, Devin Mancuso, and Jack Baldwin. serving as one of the executive directors overseeing the creative direction and story. The project's NFT collection of 8,888 ranked #1 on OpenSea's "Top NFTs" for several days, marking one of Japan's first globally successful blockchain art projects. In 2023, Shinsei Galverse produced the official "I like u" music video by Grammy-nominated singer Tove Lo as an initial anime endeavor. Kusano also contributed to discussions on Web3.0 and blockchain technology as a panelist in seminars organized by the Digital Agency of Japan. === AI art === In May 2023, Kusano's first AI art collection "Neural Fad" depicting imaginary fashion history sold out 100 pieces within 24 hours at the "Bright Moments Tokyo" In June, she created WWDJAPAN's first AI-generated magazine cover using her own face. It is the first AI cover in Japanese fashion media. She was also appointed t to the Cultural Affairs Agency's Copyright Subcommittee, she participates in discussions on generative AI and copyright. Her "Synthetic Reflections" self-portrait series debuted on SuperRare, with the first piece auctioned for 3.5 ETH (equivalent to 6,480 US dollars at the time). In July 2023, she co-exhibited a 3D AI-generated dress at Christie's "Future Frequencies" auction with Gucci, alongside Claire Silver. In September, her 30-piece "Pixelated Perception" exhibit at Art Blocks Marfa explored 1990s media and gender, also showcased at the 21st Century Museum of Contemporary Art, Kanazawa. In December, her "Techno-Animism" AI art collection fused Japanese animism with technology. Collaborating with a U.S. gallery, she unveiled 336 pieces during a two-week Art Basel world tour. Throughout the two-week tour, she sold a total of 336 pieces, generating 11.2 ETH (equivalent to 21,264 US dollars at the time). === Generative art === In February 2024, the generative art platform Art Blocks selected the work "Melancholic Magical Maiden," for its Curated category. This piece reconstructs the aesthetics of 1990s magical girl anime, offering a critique of past anime heroines. It sold out within an hour, with all 300 pieces going for a total of 57 ETH (equivalent to approximately 215,385US dollars at the time). In April 2024, Emi Kusano spoke at the Standing Committee on Copyright and Other Rights at the World Intellectual Property Organization (WIPO) in Geneva, Switzerland, where she presented AI-specific information for discussion. == Style and technique == Kusano draws inspiration from Japanese retro-futurism as a foundation for her artwork, which explores the cutting-edge of technology. This approach is fueled by nostalgia for the pre-internet era, specifically the postwar period when Japanese mass media held significant sway. By blending modern technology with retro-culture, she captures the complex feelings of love, hate, and ambivalence towards present and future accelerationism. While at university, Kusano was profoundly influenced by Naoki Sakai, the industrial designer responsible for igniting the retro-futurism movement. In her musical project "Satellite Young", Kusano dons the persona of an '80s female idol and sings about contemporary technology. In her installation piece "Singing Dream", she investigates the concept of an artificial life form inhabiting a karaoke machine, which has been popular since the 1980s, compelling people to sing. In the collaborative NFT art project "Shinsei Galverse", Kusano reimagines a cyberpunk anime primarily featuring female characters, incorporating elements of magical girls popular in the early Heisei period. == Personal life == Kusano has two sons. In August 2021, she minted her older son Zombie Zoo Keeper's pixel art on "OpenSea" as part of his summer research project. The artwork was purchased by notable figures including Brud CEO Trevor McFedries and Steve Aoki, who bought the piece for the equivalent of 21.82 thousand US dollars, highlighting the intersection of art, technology, and family in her work.