Nortel Speech Server

The Nortel Speech Server (formerly known as Periphonics Speech Processing Platform) in telecommunications is a speech processing system that was originally developed by Nortel. Following the bankruptcy of Nortel, it is now sold by Avaya. The system is primarily used for large vocabulary speech recognition, natural language understanding, text-to-speech, and speaker verification. The Nortel Speech Server was based on the Periphonics OSCAR platform. The original OSCAR Platform was based upon Solaris servers. The current range of Speech Servers is Windows based. Nortel Speech Server is a component of the MPS 500, MPS 1000, and ICP platforms. On MPS systems, it may be used to stream prerecorded audio.

Pixel aspect ratio

A pixel aspect ratio (PAR) is a mathematical ratio that describes how the width of a pixel in a digital image compares to the height of that pixel. Most digital imaging systems display an image as a grid of tiny, square pixels. However, some imaging systems, especially those that must be compatible with standard-definition television motion pictures, display an image as a grid of rectangular pixels, in which the pixel width and height are different. Pixel aspect ratio describes this difference. Use of pixel aspect ratio mostly involves pictures pertaining to standard-definition television and some other exceptional cases. Most other imaging systems, including those that comply with SMPTE standards and practices, use square pixels. PAR is also known as sample aspect ratio and abbreviated SAR, though it can be confused with storage aspect ratio. == Introduction == The ratio of the width to the height of an image is known as the aspect ratio, or more precisely the display aspect ratio (DAR) – the aspect ratio of the image as displayed; for TV, DAR was traditionally 4:3 (a.k.a. fullscreen), with 16:9 (a.k.a. widescreen) now the standard for HDTV. In digital images, there is a distinction with the storage aspect ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with square pixels, then these ratios agree; if not, then non-square, "rectangular" pixels are used, and these ratios disagree. The aspect ratio of the pixels themselves is known as the pixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity: Rearranging (solving for PAR) yields: For example: A 640 × 480 VGA image has a SAR of 640/480 = 4:3, and if displayed on a 4:3 display (DAR = 4:3) has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but if displayed on a 4:3 display (DAR = 4:3) the PAR is 4/3 : 5/4 = 16:15 ≈ 1.066. This means that the pixels of the PAL picture must be "stretched" by this amount to fit in the 4:3 display. In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, but in the digitization of analog images the resulting digital image has pixels, hence SAR (and accordingly PAR, if displayed at the same aspect ratio as the original). Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose vertical and "effective" horizontal resolutions differ and are thus best described by non-square pixels – and also in some digital video cameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise also in transcoding between resolutions with different SARs. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions. There are several complicating factors in understanding PAR, particularly as it pertains to digitization of analog video: First, analog video does not have pixels, but rather a raster scan, and thus has a well-defined vertical resolution (the lines of the raster), but not a well-defined horizontal resolution, since each line is an analog signal. However, by a standardized sampling rate, the effective horizontal resolution can be determined by the sampling theorem, as is done below. Second, due to overscan, some of the lines at the top and bottom of the raster are not visible, as are some of the possible image on the left and right – see Overscan: Analog to digital resolution issues. Also, the resolution may be rounded (DV NTSC uses 480 lines, rather than the 486 that are possible). Third, analog video signals are interlaced – each image (frame) is sent as two "fields", each with half the lines. Thus either the pixels are twice as tall as they would be without interlacing, or the image is deinterlaced. == Background == Video is presented as a sequential series of images called video frames. Historically, video frames were created and recorded in analog form. As digital display technology, digital broadcast technology, and digital video compression evolved separately, it resulted in video frame differences that must be addressed using pixel aspect ratio. Digital video frames are generally defined as a grid of pixels used to present each sequential image. The horizontal component is defined by pixels (or samples), and is known as a video line. The vertical component is defined by the number of lines, as in 480 lines. Standard-definition television standards and practices were developed as broadcast technologies and intended for terrestrial broadcasting, and were therefore not designed for digital video presentation. Such standards define an image as an array of well-defined horizontal "Lines", well-defined vertical "Line Duration" and a well-defined picture center. However, there is not a standard-definition television standard that properly defines image edges or explicitly demands a certain number of picture elements per line. Furthermore, analog video systems such as NTSC 480i and PAL 576i, instead of employing progressively displayed frames, employ fields or interlaced half-frames displayed in an interwoven manner to reduce flicker and double the image rate for smoother motion. === Analog-to-digital conversion === As a result of computers becoming powerful enough to serve as video editing tools, video digital-to-analog converters and analog-to-digital converters were made to overcome this incompatibility. To convert analog video lines into a series of square pixels, the industry adopted a default sampling rate at which luma values were extracted into pixels. The luma sampling rate for 480i pictures was 12+3⁄11 MHz and for 576i pictures was 14+3⁄4 MHz. The term pixel aspect ratio was first coined when ITU-R BT.601 (commonly known as Rec. 601) specified that standard-definition television pictures are made of lines of exactly 720 non-square pixels. ITU-R BT.601 did not define the exact pixel aspect ratio but did provide enough information to calculate the exact pixel aspect ratio based on industry practices: The standard luma sampling rate of precisely 13+1⁄2 MHz. Based on this information: The pixel aspect ratio for 480i would be 10:11 as: 12 3 11 ÷ 13 1 2 = 10 11 {\displaystyle 12{\tfrac {3}{11}}\div 13{\tfrac {1}{2}}={\tfrac {10}{11}}} The pixel aspect ratio for 576i would be 59:54 as: 14 3 4 ÷ 13 1 2 = 59 54 {\displaystyle 14{\tfrac {3}{4}}\div 13{\tfrac {1}{2}}={\tfrac {59}{54}}} SMPTE RP 187 further attempted to standardize the pixel aspect ratio values for 480i and 576i. It designated 177:160 for 480i or 1035:1132 for 576i. However, due to significant difference with practices in effect by industry and the computational load that they imposed upon the involved hardware, SMPTE RP 187 was simply ignored. SMPTE RP 187 information annex A.4 further suggested the use of 10:11 for 480i. As of this writing, ITU-R BT.601-6, which is the latest edition of ITU-R BT.601, still implies that the pixel aspect ratios mentioned above are correct. === Digital video processing === As stated above, ITU-R BT.601 specified that standard-definition television pictures are made of lines of 720 non-square pixels, sampled with a precisely specified sampling rate. A simple mathematical calculation reveals that a 704 pixel width would be enough to contain a 480i or 576i standard 4:3 picture: A 4:3 480-line picture, digitized with the Rec. 601-recommended sampling rate, would be 704 non-square pixels wide. x 480 × 10 11 = 4 3 ⇒ x = 480 × 11 × 4 10 × 3 = 704 {\displaystyle {\frac {x}{480}}\times {\frac {10}{11}}={\frac {4}{3}}\Rightarrow x={\frac {480\times 11\times 4}{10\times 3}}=704} A 4:3 576-line picture, digitized with the Rec. 601-recommended sampling rate, would be 702+54⁄59 non-square pixels wide. x 576 × 59 54 = 4 3 ⇒ x = 576 × 54 × 4 59 × 3 = 702 54 59 {\displaystyle {\frac {x}{576}}\times {\frac {59}{54}}={\frac {4}{3}}\Rightarrow x={\frac {576\times 54\times 4}{59\times 3}}=702{\tfrac {54}{59}}} Unfortunately, not all standard TV pictures are exactly 4:3: As mentioned earlier, in analog video, the center of a picture is well-defined but the edges of the picture are not standardized. As a result, some analog devices (mostly PAL devices but also some NTSC devices) generated motion pictures that were horizontally (slightly) wider. This also proportionately applies to anamorphic widescreen (16:9) pictures. Therefore, to maintain a safe margin of error, ITU-R BT.601 required sampling 16 more non-square pixels per line (8 more at each edge) to ensure saving all video data near the margins. This requirement, however, had implications for PAL motion pictures. PAL pixel aspect ratios for standard (4:3) and anamorphic wide screen (16:9), respectively 59:54 and 118:81, were awkward for digital image processing, especially for mixing PAL and NTSC video clips. Therefore, video editing products chose the almost equivalent value

Flux (text-to-image model)

Flux (also known as FLUX.1 and FLUX.2) is a text-to-image model developed by Black Forest Labs (BFL), based in Freiburg im Breisgau, Germany. Black Forest Labs was founded by former employees of Stability AI. As with other text-to-image models, Flux generates images from natural language descriptions, called prompts. == History == Black Forest Labs (BFL) was founded in 2024 by Robin Rombach, Andreas Blattmann, and Patrick Esser, former employees of Stability AI. All three founders had previously researched the artificial intelligence image generation at LMU Munich as research assistants under Björn Ommer. They published their research results on image generation in 2022, which resulted in creation of Stable Diffusion. Investors in BFL included venture capital firm Andreessen Horowitz, Brendan Iribe, Michael Ovitz, Garry Tan, and Vladlen Koltun. The company received an initial investment of US$31 million. In August 2024, Flux was integrated into the Grok chatbot developed by xAI and made available as part of premium feature on X (formerly Twitter). Grok later switched to its own text-to-image model Aurora in December 2024. On 18 November 2024, Mistral AI announced that its Le Chat chatbot had integrated Flux Pro as its image generation model. On 21 November 2024, BFL announced the release of Flux.1 Tools, a suite of editing tools designed to be used on top of existing Flux models. The tools consisting of Flux.1 Fill for inpainting and outpainting, Flux.1 Depth for control based on extracted depth map of input images and prompts, Flux.1 Canny for control based on extracted canny edges of input images and prompts, and Flux.1 Redux for mixing existing input images and prompts. Each tools are available in both Pro and Dev models. In January 2025, BFL announced a partnership with Nvidia for inclusion of Flux models as foundation models for Nvidia's Blackwell microarchitecture. The company also announced the release of Flux Pro Finetuning API, designed for customisation and fine-tuning of Flux-generated images and a partnership with German media company Hubert Burda Media for usage of Flux Pro as part of content creation. On 29 May 2025, BFL announced Flux.1 Kontext, a suite of models that enable in-context image generation and editing, allowing users to prompt with both text and images. Alongside this, BFL Playground, an interface for testing Flux models was released. On 31 July 2025, BFL announced Flux.1 Krea Dev, a model developed in collaboration with Krea AI that trained to achieve better performance, more varied aesthetics, and better realism compared to existing text-to-image models. In September 2025, Adobe Inc. announced that Photoshop (beta) users can use Flux.1 Kontext Pro as a model for its generative fill tool. BFL collaborated with Meta on Vibes, a video-generation app. On 25 November 2025, BFL announced the release of Flux.2 model series, consisting of Pro, Flex, Dev, and Apache 2.0-licensed Klein (meaning Little or Small in German language) models along with Flux.2 variational autoencoder which also released as open-source software under Apache 2.0 licence. This series claimed improvements for image reference, photorealism, typography, and prompt understanding. == Models == Flux is a series of text-to-image models. The models are based on rectified flow transformer blocks scaled to 12 billion parameters. Flux.1 models were released under different licences with Schnell (meaning Fast or Quick in German language) released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence for Dev from BFL), and Pro released as proprietary software and only available as API that can be licensed by third-party users. Users retained the ownership of resulting output regardless of models used. An improved flagship model, Flux 1.1 Pro was released on 2 October 2024. Two additional modes were added on 6 November, Ultra which can generate image at four times higher resolution and up to 4 megapixel without affecting generation speed and Raw which can generate hyper-realistic image in the style of candid photography. Flux.1 Kontext is a series with in-context image generation and editing capabilities. It is available in Max, Pro, and Dev models. Max is the highest quality model and can be used to iteratively modify an existing image by using prompt while Pro is optimized to balance quality and speed of generation. Dev is an open-weight model released under non-commercial license, same as Flux.1 Dev. Flux.2 models are based on latent flow matching architecture with Mistral AI's Mistral-3 model (24 billion parameters) for its vision-language model. As with Flux.1, Flux.2 models were also released under different licences with Klein released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence from BFL), and both Flex and Pro released as proprietary software and only available as API. The models can be used either online or locally by using generative AI user interfaces such as ComfyUI, Recraft Studio and Stable Diffusion WebUI Forge (a fork of Automatic1111 WebUI). Related to Flux is a text-to-video model by Black Forest Labs, under development as of February 2026. == Reception == According to a test performed by Ars Technica, the outputs generated by Flux.1 Dev and Flux.1 Pro are comparable with DALL-E 3 in terms of prompt fidelity, with the photorealism closely matched Midjourney 6 and generated human hands with more consistency over previous models such as Stable Diffusion XL. Flux has been criticised for its very realistic generated images. According to media reports, depictions ranged from an image of Donald Trump posing with guns to disturbing scenes, which triggered discussions about ethical implications of Flux models. After the release of the model, social media platform X was flooded with Flux-generated images. Black Forest Labs has not provided exact details of the data used to train the model. Ars Technica suspected that Flux is based on a large, unauthorised collection of images scraped from the internet, a controversial practice with potential legal consequences. According to a test performed by Japanese technology news website Gigazine for Flux.1 Kontext, the model series has a good understanding of the English language and can easily transfer style of the image from photorealistic into anime-style according to prompts given by the user; however, its ability to understand Japanese is quite poor. == Availability == In addition to the official BFL Playground on its website, the Flux models are also widely available through various third-party platforms for creative and professional use. These include repositories on platforms like Hugging Face and Replicate. == Further readings == FLUX.1 Kontext: Flow Matching for In-Context Image Generation and Editing in Latent Space (29 May 2025) FLUX.2: Analyzing and Enhancing the Latent Space of FLUX – Representation Comparison (25 November 2025)

Construction of t-norms

In mathematics, t-norms are a special kind of binary operations on the real unit interval [0, 1]. Various constructions of t-norms, either by explicit definition or by transformation from previously known functions, provide a plenitude of examples and classes of t-norms. This is important, e.g., for finding counter-examples or supplying t-norms with particular properties for use in engineering applications of fuzzy logic. The main ways of construction of t-norms include using generators, defining parametric classes of t-norms, rotations, or ordinal sums of t-norms. Relevant background can be found in the article on t-norms. == Generators of t-norms == The method of constructing t-norms by generators consists in using a unary function (generator) to transform some known binary function (most often, addition or multiplication) into a t-norm. In order to allow using non-bijective generators, which do not have the inverse function, the following notion of pseudo-inverse function is employed: Let f: [a, b] → [c, d] be a monotone function between two closed subintervals of extended real line. The pseudo-inverse function to f is the function f (−1): [c, d] → [a, b] defined as f ( − 1 ) ( y ) = { sup { x ∈ [ a , b ] ∣ f ( x ) < y } for f non-decreasing sup { x ∈ [ a , b ] ∣ f ( x ) > y } for f non-increasing. {\displaystyle f^{(-1)}(y)={\begin{cases}\sup\{x\in [a,b]\mid f(x)y\}&{\text{for }}f{\text{ non-increasing.}}\end{cases}}} === Additive generators === The construction of t-norms by additive generators is based on the following theorem: Let f: [0, 1] → [0, +∞] be a strictly decreasing function such that f(1) = 0 and f(x) + f(y) is in the range of f or in [f(0+), +∞] for all x, y in [0, 1]. Then the function T: [0, 1]2 → [0, 1] defined as T(x, y) = f (-1)(f(x) + f(y)) is a t-norm. Alternatively, one may avoid using the notion of pseudo-inverse function by having T ( x , y ) = f − 1 ( min ( f ( 0 + ) , f ( x ) + f ( y ) ) ) {\displaystyle T(x,y)=f^{-1}\left(\min \left(f(0^{+}),f(x)+f(y)\right)\right)} . The corresponding residuum can then be expressed as ( x ⇒ y ) = f − 1 ( max ( 0 , f ( y ) − f ( x ) ) ) {\displaystyle (x\Rightarrow y)=f^{-1}\left(\max \left(0,f(y)-f(x)\right)\right)} . And the biresiduum as ( x ⇔ y ) = f − 1 ( | f ( x ) − f ( y ) | ) {\displaystyle (x\Leftrightarrow y)=f^{-1}\left(\left|f(x)-f(y)\right|\right)} . If a t-norm T results from the latter construction by a function f which is right-continuous in 0, then f is called an additive generator of T. Examples: The function f(x) = 1 – x for x in [0, 1] is an additive generator of the Łukasiewicz t-norm. The function f defined as f(x) = –log(x) if 0 < x ≤ 1 and f(0) = +∞ is an additive generator of the product t-norm. The function f defined as f(x) = 2 – x if 0 ≤ x < 1 and f(1) = 0 is an additive generator of the drastic t-norm. Basic properties of additive generators are summarized by the following theorem: Let f: [0, 1] → [0, +∞] be an additive generator of a t-norm T. Then: T is an Archimedean t-norm. T is continuous if and only if f is continuous. T is strictly monotone if and only if f(0) = +∞. Each element of (0, 1) is a nilpotent element of T if and only if f(0) < +∞. The multiple of f by a positive constant is also an additive generator of T. T has no non-trivial idempotents. (Consequently, e.g., the minimum t-norm has no additive generator.) === Multiplicative generators === The isomorphism between addition on [0, +∞] and multiplication on [0, 1] by the logarithm and the exponential function allow two-way transformations between additive and multiplicative generators of a t-norm. If f is an additive generator of a t-norm T, then the function h: [0, 1] → [0, 1] defined as h(x) = e−f (x) is a multiplicative generator of T, that is, a function h such that h is strictly increasing h(1) = 1 h(x) · h(y) is in the range of h or equal to 0 or h(0+) for all x, y in [0, 1] h is right-continuous in 0 T(x, y) = h (−1)(h(x) · h(y)). Vice versa, if h is a multiplicative generator of T, then f: [0, 1] → [0, +∞] defined by f(x) = −log(h(x)) is an additive generator of T. == Parametric classes of t-norms == Many families of related t-norms can be defined by an explicit formula depending on a parameter p. This section lists the best known parameterized families of t-norms. The following definitions will be used in the list: A family of t-norms Tp parameterized by p is increasing if Tp(x, y) ≤ Tq(x, y) for all x, y in [0, 1] whenever p ≤ q (similarly for decreasing and strictly increasing or decreasing). A family of t-norms Tp is continuous with respect to the parameter p if lim p → p 0 T p = T p 0 {\displaystyle \lim _{p\to p_{0}}T_{p}=T_{p_{0}}} for all values p0 of the parameter. === Schweizer–Sklar t-norms === The family of Schweizer–Sklar t-norms, introduced by Berthold Schweizer and Abe Sklar in the early 1960s, is given by the parametric definition T p S S ( x , y ) = { T min ( x , y ) if p = − ∞ ( x p + y p − 1 ) 1 / p if − ∞ < p < 0 T p r o d ( x , y ) if p = 0 ( max ( 0 , x p + y p − 1 ) ) 1 / p if 0 < p < + ∞ T D ( x , y ) if p = + ∞ . {\displaystyle T_{p}^{\mathrm {SS} }(x,y)={\begin{cases}T_{\min }(x,y)&{\text{if }}p=-\infty \\(x^{p}+y^{p}-1)^{1/p}&{\text{if }}-\infty −∞ Continuous if and only if p < +∞ Strict if and only if −∞ < p ≤ 0 (for p = −1 it is the Hamacher product) Nilpotent if and only if 0 < p < +∞ (for p = 1 it is the Łukasiewicz t-norm). The family is strictly decreasing for p ≥ 0 and continuous with respect to p in [−∞, +∞]. An additive generator for T p S S {\displaystyle T_{p}^{\mathrm {SS} }} for −∞ < p < +∞ is f p S S ( x ) = { − log ⁡ x if p = 0 1 − x p p otherwise. {\displaystyle f_{p}^{\mathrm {SS} }(x)={\begin{cases}-\log x&{\text{if }}p=0\\{\frac {1-x^{p}}{p}}&{\text{otherwise.}}\end{cases}}} === Hamacher t-norms === The family of Hamacher t-norms, introduced by Horst Hamacher in the late 1970s, is given by the following parametric definition for 0 ≤ p ≤ +∞: T p H ( x , y ) = { T D ( x , y ) if p = + ∞ 0 if p = x = y = 0 x y p + ( 1 − p ) ( x + y − x y ) otherwise. {\displaystyle T_{p}^{\mathrm {H} }(x,y)={\begin{cases}T_{\mathrm {D} }(x,y)&{\text{if }}p=+\infty \\0&{\text{if }}p=x=y=0\\{\frac {xy}{p+(1-p)(x+y-xy)}}&{\text{otherwise.}}\end{cases}}} The t-norm T 0 H {\displaystyle T_{0}^{\mathrm {H} }} is called the Hamacher product. Hamacher t-norms are the only t-norms which are rational functions. The Hamacher t-norm T p H {\displaystyle T_{p}^{\mathrm {H} }} is strict if and only if p < +∞ (for p = 1 it is the product t-norm). The family is strictly decreasing and continuous with respect to p. An additive generator of T p H {\displaystyle T_{p}^{\mathrm {H} }} for p < +∞ is f p H ( x ) = { 1 − x x if p = 0 log ⁡ p + ( 1 − p ) x x otherwise. {\displaystyle f_{p}^{\mathrm {H} }(x)={\begin{cases}{\frac {1-x}{x}}&{\text{if }}p=0\\\log {\frac {p+(1-p)x}{x}}&{\text{otherwise.}}\end{cases}}} === Frank t-norms === The family of Frank t-norms, introduced by M.J. Frank in the late 1970s, is given by the parametric definition for 0 ≤ p ≤ +∞ as follows: T p F ( x , y ) = { T m i n ( x , y ) if p = 0 T p r o d ( x , y ) if p = 1 T L u k ( x , y ) if p = + ∞ log p ⁡ ( 1 + ( p x − 1 ) ( p y − 1 ) p − 1 ) otherwise. {\displaystyle T_{p}^{\mathrm {F} }(x,y)={\begin{cases}T_{\mathrm {min} }(x,y)&{\text{if }}p=0\\T_{\mathrm {prod} }(x,y)&{\text{if }}p=1\\T_{\mathrm {Luk} }(x,y)&{\text{if }}p=+\infty \\\log _{p}\left(1+{\frac {(p^{x}-1)(p^{y}-1)}{p-1}}\right)&{\text{otherwise.}}\end{cases}}} The Frank t-norm T p F {\displaystyle T_{p}^{\mathrm {F} }} is strict if p < +∞. The family is strictly decreasing and continuous with respect to p. An additive generator for T p F {\displaystyle T_{p}^{\mathrm {F} }} is f p F ( x ) = { − log ⁡ x if p = 1 1 − x if p = + ∞ log ⁡ p − 1 p x − 1 otherwise. {\displaystyle f_{p}^{\mathrm {F} }(x)={\begin{cases}-\log x&{\text{if }}p=1\\1-x&{\text{if }}p=+\infty \\\log {\frac {p-1}{p^{x}-1}}&{\text{otherwise.}}\end{cases}}} === Yager t-norms === The family of Yager t-norms, introduced in the early 1980s by Ronald R. Yager, is given for 0 ≤ p ≤ +∞ by T p Y ( x , y ) = { T D ( x , y ) if p = 0 max ( 0 , 1 − ( ( 1 − x ) p + ( 1 − y ) p ) 1 / p ) if 0 < p < + ∞ T m i n ( x , y ) if p = + ∞ {\displaystyle T_{p}^{\mathrm {Y} }(x,y)={\begin{cases}T_{\mathrm {D} }(x,y)&{\text{if }}p=0\\\max \left(0,1-((1-x)^{p}+(1-y)^{p})^{1/p}\right)&{\text{if }}0

Niceaunties

Niceaunties is the pseudonym of a Singapore-based artist and designer whose work incorporates generative artificial intelligence, video, and digital installation. Her practice centers around the figure of the "auntie", a common term for older women in Southeast Asian contexts, and explores themes such as aging, care, domesticity, and gender roles. Her work has been featured in exhibitions and media platforms including TED, Christie's Art + Tech, Expanded.Art, and publications such as The Guardian, The Straits Times. == Early life and career == Niceaunties was born in 1981 in Singapore. She attributes her inspiration for "auntie culture" to the matriarchal environment and older women of her household, including her grandmother, while growing up. She is also an architectural designer with Spark Architect. The Niceaunties project began in 2023 after she encountered AI-generated images in her work as an architect. It draws inspiration from women in the artist's family and broader Southeast Asian cultural dynamics. Her work often features AI-generated visuals created with tools such as DALL-E, Krea, RunwayML, and SORA. Her imagery and narratives center on the fictional "Auntieverse", which features older women in imagined settings involving community, ecology, and labor. Her notable works include 'Auntlantis', a five-part video series imagining older women engaged in ocean clean-up and collective ritual, and 'Goddess,' a video created with Sora, featuring a character who gradually forgets her divine identity through years of domestic labor. == Exhibitions == 2024 – Expanded.Art, Berlin – Auntiedote solo exhibition 2024 – TED (conference), Vancouver – Speaker and screening 2024 – Victoria and Albert Museum, London – Digital Art Weekend 2024 – Louisiana Museum of Modern Art, Denmark – Ocean exhibition 2025 – Christie's Augmented Intelligence Auction, New York == Reception == In 2024, Niceaunties gave a TED Talk titled The Weird and Wonderful Art of Niceaunties. Journalist Rebecca Ratcliffe, writing for The Guardian, described her work as combining AI with "the surreal and the political," noting her focus on older women as central characters. Her work has also received criticism for being reliant on generative AI, which many feel exploits and steals from traditional artists.

Landweber iteration

The Landweber iteration or Landweber algorithm is an algorithm to solve ill-posed linear inverse problems, and it has been extended to solve non-linear problems that involve constraints. The method was first proposed in the 1950s by Louis Landweber, and it can be now viewed as a special case of many other more general methods. == Basic algorithm == The original Landweber algorithm attempts to recover a signal x from (noisy) measurements y. The linear version assumes that y = A x {\displaystyle y=Ax} for a linear operator A. When the problem is in finite dimensions, A is just a matrix. When A is nonsingular, then an explicit solution is x = A − 1 y {\displaystyle x=A^{-1}y} . However, if A is ill-conditioned, the explicit solution is a poor choice since it is sensitive to any noise in the data y. If A is singular, this explicit solution doesn't even exist. The Landweber algorithm is an attempt to regularize the problem, and is one of the alternatives to Tikhonov regularization. We may view the Landweber algorithm as solving: min x ‖ A x − y ‖ 2 2 / 2 {\displaystyle \min _{x}\|Ax-y\|_{2}^{2}/2} using an iterative method. The algorithm is given by the update x k + 1 = x k − ω A ∗ ( A x k − y ) . {\displaystyle x_{k+1}=x_{k}-\omega A^{}(Ax_{k}-y).} where the relaxation factor ω {\displaystyle \omega } satisfies 0 < ω < 2 / σ 1 2 {\displaystyle 0<\omega <2/\sigma _{1}^{2}} . Here σ 1 {\displaystyle \sigma _{1}} is the largest singular value of A {\displaystyle A} . If we write f ( x ) = ‖ A x − y ‖ 2 2 / 2 {\displaystyle f(x)=\|Ax-y\|_{2}^{2}/2} , then the update can be written in terms of the gradient x k + 1 = x k − ω ∇ f ( x k ) {\displaystyle x_{k+1}=x_{k}-\omega \nabla f(x_{k})} and hence the algorithm is a special case of gradient descent. For ill-posed problems, the iterative method needs to be stopped at a suitable iteration index, because it semi-converges. This means that the iterates approach a regularized solution during the first iterations, but become unstable in further iterations. The reciprocal of the iteration index 1 / k {\displaystyle 1/k} acts as a regularization parameter. A suitable parameter is found, when the mismatch ‖ A x k − y ‖ 2 2 {\displaystyle \|Ax_{k}-y\|_{2}^{2}} approaches the noise level. Using the Landweber iteration as a regularization algorithm has been discussed in the literature. == Nonlinear extension == In general, the updates generated by x k + 1 = x k − τ ∇ f ( x k ) {\displaystyle x_{k+1}=x_{k}-\tau \nabla f(x_{k})} will generate a sequence f ( x k ) {\displaystyle f(x_{k})} that converges to a minimizer of f whenever f is convex and the stepsize τ {\displaystyle \tau } is chosen such that 0 < τ < 2 / ( ‖ ∇ f ‖ 2 ) {\displaystyle 0<\tau <2/(\|\nabla f\|^{2})} where ‖ ⋅ ‖ {\displaystyle \|\cdot \|} is the spectral norm. Since this is special type of gradient descent, there currently is not much benefit to analyzing it on its own as the nonlinear Landweber, but such analysis was performed historically by many communities not aware of unifying frameworks. The nonlinear Landweber problem has been studied in many papers in many communities; see, for example. == Extension to constrained problems == If f is a convex function and C is a convex set, then the problem min x ∈ C f ( x ) {\displaystyle \min _{x\in C}f(x)} can be solved by the constrained, nonlinear Landweber iteration, given by: x k + 1 = P C ( x k − τ ∇ f ( x k ) ) {\displaystyle x_{k+1}={\mathcal {P}}_{C}(x_{k}-\tau \nabla f(x_{k}))} where P {\displaystyle {\mathcal {P}}} is the projection onto the set C. Convergence is guaranteed when 0 < τ < 2 / ( ‖ A ‖ 2 ) {\displaystyle 0<\tau <2/(\|A\|^{2})} . This is again a special case of projected gradient descent (which is a special case of the forward–backward algorithm) as discussed in. == Applications == Since the method has been around since the 1950s, it has been adopted and rediscovered by many scientific communities, especially those studying ill-posed problems. In X-ray computed tomography it is called simultaneous iterative reconstruction technique (SIRT). It has also been used in the computer vision community and the signal restoration community. It is also used in image processing, since many image problems, such as deconvolution, are ill-posed. Variants of this method have been used also in sparse approximation problems and compressed sensing settings.

Science Fiction Thinking Machines

Science Fiction Thinking Machines: Robots, Androids, Computers is an anthology of science fiction short stories edited by American anthologist Groff Conklin. It was first published in hardcover by Vanguard Press in May 1954. An abridged paperback edition titled, Selections from Science Fiction Thinking Machines was later published by Bantam Books in August 1955 and was reprinted in September 1964. The book consists of twenty-two novelettes and short stories by various science fiction authors, together with an introduction and bibliography by the editor. The stories were previously published from 1899-1954, in various science fiction and other magazines. == Contents == Note: stories also appearing in the abridged edition annotated A. "Introduction" (Groff Conklin) "Automata: I" (S. Fowler Wright) "Moxon's Master" (Ambrose Bierce) "Robbie" (Isaac Asimov) A "The Scarab" (Raymond Z. Gallun) "The Mechanical Bride" (Fritz Leiber) "Virtuoso" (Herbert Goldstone) A "Automata: II" (S. Fowler Wright) "Boomerang" (Eric Frank Russell) A "The Jester" (William Tenn) A "R. U. R." (Karel Čapek) "Skirmish" (Clifford D. Simak) A "Soldier Boy" (Michael Shaara) "Automata: III" (S. Fowler Wright) "Men Are Different" (Alan Bloch) A "Letter to Ellen" (Chan Davis) A "Sculptors of Life" (Wallace West) "The Golden Egg" (Theodore Sturgeon) A "Dead End" (Wallace Macfarlane) A "Answer" (Hal Clement) "Sam Hall" (Poul Anderson) A "Dumb Waiter" (Walter M. Miller Jr.) A "Problem for Emmy" (Robert Sherman Townes) A "Selected List of Tales About Robots, Androids, and Computers" (Groff Conklin)