Oracle Cloud Platform refers to a Platform as a Service (PaaS) offerings by Oracle Corporation as part of Oracle Cloud Infrastructure. These offerings are used to build, deploy, integrate and extend applications in the cloud. The offerings support a variety of programming languages, databases, tools and frameworks including Oracle-specific, open source and third-party software and systems. == Deployment models == Oracle Cloud Platform offers public, private and hybrid cloud deployment models. == Architecture == Oracle Cloud Platform provides both Infrastructure as a Service (IaaS) and Platform as a Service (PaaS). The infrastructure is offered through a global network of Oracle managed data centers. Oracle deploys their cloud in Regions. Inside each Region are at least three fault-independent Availability Domains. Each of these Availability Domains contains an independent data center with power, thermal and network isolation. Oracle Cloud is generally available in North America, EMEA, APAC and Japan with announced South America and US Govt. regions coming soon.
Data administration
Data administration or data resource management is an organizational function working in the areas of information systems and computer science that plans, organizes, describes and controls data resources. Data resources are usually stored in databases under a database management system or other software such as electronic spreadsheets. In many smaller organizations, data administration is performed occasionally, or is a small component of the database administrator’s work. In the context of information systems development, data administration ideally begins at system conception, ensuring there is a data dictionary to help maintain consistency, avoid redundancy, and model the database so as to make it logical and usable, by means of data modeling, including database normalization techniques. == Data resource management == According to the Data Management Association (DAMA), data resource management is "the development and execution of architectures, policies, practices and procedures that properly manage the full data lifecycle needs of an enterprise". Data Resource management may be thought of as a managerial activity that applies information system and other data management tools to the task of managing an organization’s data resource to meet a company’s business needs, and the information they provide to their shareholders. From the perspective of database design, it refers to the development and maintenance of data models to facilitate data sharing between different systems, particularly in a corporate context. Data Resource Management is also concerned with both data quality and compatibility between data models. Since the beginning of the information age, businesses need all types of data on their business activity. With each data created, when a business transaction is made, need data is created. With these data, new direction is needed that focuses on managing data as a critical resource of the organization to directly support its business activities. The data resource must be managed with the same intensity and formality that other critical resources are managed. Organizations must emphasize the information aspect of information technology, determine the data needed to support the business, and then use appropriate technology to build and maintain a high-quality data resource that provides that support. Data resource quality is a measure of how well the organization's data resource supports the current and the future business information demand of the organization. The data resource cannot support just the current business information demand while sacrificing the future business information demand. It must support both the current and the future business information demand. The ultimate data resource quality is stability across changing business needs and changing technology. A corporate data resource must be developed within single, organization-wide common data architecture. A data architecture is the science and method of designing and constructing a data resource that is business driven, based on real-world objects and events as perceived by the organization, and implemented into appropriate operating environments. It is the overall structure of a data resource that provides a consistent foundation across organizational boundaries to provide easily identifiable, readily available, high-quality data to support the business information demand. The common data architecture is a formal, comprehensive data architecture that provides a common context within which all data at an organization's disposal are understood and integrated. It is subject oriented, meaning that it is built from data subjects that represent business objects and business events in the real world that are of interest to the organization and about which data are captured and maintained.
International Olympiad in Artificial Intelligence
The International Olympiad in Artificial Intelligence (IOAI) is an annual International Science Olympiad in the field of artificial intelligence (AI) for secondary education students under the age of 20. The first IOAI was held in Burgas, Bulgaria, in 2024. Each country or territory may send up to two teams, each consisting of up to four students supported by one leader. Participants are selected through a multi-stage National Olympiad in Artificial Intelligence (NOAI) and/or a Regional Olympiad such as the NAOAI or APOAI. Participants at the IOAI compete on an individual basis. As of 2025, there were 61 countries and territories participating in the IOAI. Three hundred students participated in IOAI 2025. As of 2026, 130 countries and territories are accredited for participation in the IOAI. == Competition Structure == The IOAI consists of three contests: the Individual Contest, the Team Challenge, and the GAITE contest. Medals are awarded based solely on the Individual Contest. === Individual Contest === The Individual Contest is the main competition of the IOAI in which contestants compete individually on separate computers and are not permitted to communicate during the contest. Medals are awarded solely on the basis of the total score from the two-day Individual Contest. The Individual Contest consists of two on-site contest days (six hours per day), preceded by an at-home practice round and an on-site practice session. In IOAI 2025, three at-home problems were released for preparation approximately one month before the on-site contest. Results from this at-home round do not affect final results. The first on-site contest day (Individual Contest 1) comprises three tasks as extensions and continuations of the at-home tasks, while the second day (Individual Contest 2) comprises two or three tasks which are novel and different from the at-home tasks. The Individual Contest tasks span various AI domains such as machine learning, natural language processing, and computer vision. The IOAI 2025 contest rules describe tasks as requiring typical machine-learning workflows, including writing code, fitting models on training data, and running inference on test data, using identical local machines and GPU resources (minimum 24 GB RAM). Tasks, datasets, and submissions are handled through a contest platform (Bohrium), including a web-based Jupyter notebook environment for GPU access. Internet access is restricted to a whitelist of documentation sites and an integrated compact large language model accessible within the platform. The use of external APIs are prohibited unless a task explicitly allows them. In IOAI 2025, each contest task was scored up to 100 points and could include multiple subtasks. Scores are normalized using a baseline solution and a maximum score derived from either a Scientific Committee solution or the best contestant submission. Contestants can view only their own scores during the contest; a live scoreboard may be available publicly outside the contest hall but is not permitted to be viewed by contestants during the contest. For non-English-speaking teams, the IOAI hold a translation session beginning three hours before each contest day in which team leaders review and may amend machine-translated task statements; translations must match the English original and are published after the contest. The IOAI committee also enforces quarantine restrictions during these translation sessions, where neither contestants or team leaders may not use cell phones, laptops, and other communication devices. === Team Challenge === The Team Challenge is a team-based component of the IOAI. The results of this part do not affect the distribution of medals. The IOAI 2025 rules describe it as a “creative and AI-oriented challenge” in which a team's contestants sit together and cooperate, with the format varying by year. In IOAI 2024, teams worked with existing AI image and video generation tools to produce a visual result. In IOAI 2025, teams were assigned to program a robot to complete various tasks. === GAITE Contest === The GAITE (Global AI Talent Empowerment) contest is a simplified version of the individual contest with a separate scoreboard, where participants may ask for hints. It is designed for countries and territories with limited International Science Olympiads history, and it awards alternative prizes instead of medals. == Awards Distribution == The top 50% of the participants in the individual contest receive gold, silver and bronze medals in ratio of 1:2:3, respectively. The top three individuals receive honorary trophies. As in other International Science Olympiads, if an individual is in the top 50% on one of the days, but does not receive a medal, they receive an honorary mention during the awards ceremony. The GAITE contest has similar cutoff logic, but receives a reward instead of a medal. The top three teams in the Team Challenge receive trophies. == National selection and regional competitions == National delegations are selected through country-level qualification processes referred to as National Olympiads in Artificial Intelligence (NOAI) or equivalent, which are widely known for their low success rates. Although the total number of participants worldwide is not published, available data indicate exceptionally competitive national pools; for example, Brazil reports over 716,000 competitors, while Russia reports more than 72,000. In addition, Regional Olympiads (for example, APOAI or NAOAI) provide continent-level competition and preparation platforms in most regions. === National Selection (National Olympiads in Artificial Intelligence) === Participating countries and territories select their students for the IOAI through a National Olympiad in Artificial Intelligence (NOAI) or an equivalent process. The names of these selection processes differ by country, but almost all of them (excluding newer countries participating in the GAITE contest) have in common that the process comprises multiple and/or extremely rigorous selection stages. United States / Canada – The USA–North America AI Olympiad (USAAIO) is a three-round process including an invitational in-person round and a subsequent selection camp, after which a national delegation is selected for IOAI. Russia – The Russian Olympiad in Artificial Intelligence is organized as a multi-stage process (training, qualification, main round, final). Organizers reported 72,316 registrations for the training round and 52,260 registrations for the qualifying round in one season, with tasks spanning mathematics, algorithms/programming, and machine learning; 977 students were disqualified following plagiarism checks. Japan – Japan's national selection consists of multiple stages, beginning with the Japan Olympiad in Artificial Intelligence (JOAI), a large-scale Kaggle-style competition. High-performing participants advance through additional assessment stages, including written solution reports and technical interviews. From this process, eight students are selected for the APOAI team, with four ultimately chosen to represent Japan at the IOAI. Brazil – Brazil's National Olympiad in Artificial Intelligence (ONIA) is conducted as a large competition which consists of progressive rounds of evaluation. It identifies 28 top students from over 716,000 competitors, four of which are selected for the IOAI. The competition is held in four phases across two cycles, including a two-step third phase and a final training-and-evaluation phase that selects a four-student national team. Singapore – Singapore's national Olympiad consists of two rounds: an online preliminary round (300 MCQs in 3 hours) selects the top 150 performers to advance to the final assessment, which includes both theory questions and Python programming tasks. Additional training and selection may follow the finals for top performers. Poland – The Polish AI Olympiad adopts a two-stage structure: an open online first stage (at-home tasks) and a second-stage competitive camp with 30 selected participants competing for a four-person IOAI team. France – The Olympiades Françaises d'Intelligence Artificielle (OFIA), organized by France-IOI, follow a three-stage structure consisting of an open online qualification round, a second selection round, and a multi-day national training camp and final in Paris. Bangladesh – The Bangladesh AI Olympiad (BdAIO) selects competitors in three rounds: the online preliminary round, the national finals, and the team selection camp. In 2025, 406 participants competed in the national finals. Norway – The Norwrgian AI Olympiad (NOKI) is a three-stage selection system; however, unlike other countries, its first two rounds are shared with the Norwegian Informatics Olympiad. The national Olympiad reports 1,180 participants in the first round. Hong Kong – The national Olympiad reported more than 800 preliminary-round entrants, narrowing through multiple rounds to 25 finalists, with a subsequent
Libby Heaney
Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)
The Sword in the Stoned
"The Sword in the Stoned" is the fifth episode of the second season of the American fantasy comedy television series Ted. Written by Julius Sharpe, and directed by Seth MacFarlane, it premiered on the American streaming service Peacock, along with the rest of season two, on March 5, 2026. The series acts as a precursor to the Ted film franchise, showcasing the childhood lives of the protagonists. The series, set in 1994, focuses on John Bennett (Max Burkholder), the series' primary protagonist, an awkward high-school aged boy; along with Ted (MacFarlane), the series' titular anthropomorphic teddy bear. The two live with John's family, Susan (Alanna Ubach), his mild mannered mother, and Matty (Scott Grimes), his conservative father. Also residing with the family is Blaire (Giorgia Whigham), his radically liberal cousin whom often clashes with Matty. In the episode, Ted and John join the school play so they can have more extracurricular activities for their college applications, but the latter grows a connection with the school's popular teenager, Erin (Francesca Xuereb). Concurrently, Susan and Matty get a job at Dunkin' Donuts to help with their financial troubles, and Matty is given an opportunity to tell off Bill Clinton. Burkholder wore prop armor during the episode's play scenes. Bill Clinton’s appearance in the episode was portrayed by MacFarlane. After conventional makeup and visual techniques failed to convincingly resemble Clinton, the production used artificial intelligence to digitally replace MacFarlane's face with Clinton's likeness. Upon release, the episode received generally positive reviews from critics, though the use of AI in the Clinton scene was polarizing among audiences and reviewers. == Plot == John tells Ted that he is the last single guy left at their school, to which Ted points out the popular, single cheerleader, Erin, but John dismisses this. At home, Blaire tells John that he needs extracurricular activities to get into college, while Susan and Matty discuss their financial troubles, especially regarding John's college tuition. Looking over their options, they decide to audition for a school production of the play Camelot. Matty takes a job at Dunkin' Donuts, despite being told that nobody will give him a tip, and having to wear an incorrect name tag. Waiting for their auditions, John and Ted watch several poor auditions for the play before seeing Erin's, who delivers a flawless performance; John and Ted do less serious auditions, getting cast as knights, while Erin gets the role of Guinevere. Matty complains about his low salary, and Susan decides to get a job at Dunkin' Donuts beside him to help earn more income. Erin clashes with Lancelot's actor while rehearsing, and John compliments her performance, which she ignores, but, seeing Ted and John give good performances in a repetition exercise, she becomes interested in him, particularly since he treats her better than her stage-partner. Matty and Susan watch an employee training video, explaining how they should treat customers politely, not affecting Matty's nihilistic attitude. The manager announces that Bill Clinton is visiting their Dunkin' Donuts for publicity, and Matty sees this as a chance to tell Bill off. John and Erin practice lines, as she reveals the show is being taped so it can be sent to Emerson College in hopes of her getting in; Erin asks John to go out with her after the show. At dinner, Matty enthusiastically reveals what he plans to tell Bill, as John becomes stressed about the play when Susan tells there will be a large audience. Bill comes to the Dunkin' Donuts, and, seeing Matty is nervously insulting him, stages a private meeting with him, where Bill yells at Matty, calling him a loser before posing for a picture with Matty and subsequently throwing the cold coffee onto him. To ease the pressure, Ted and John take edibles from Blaire, but learn at the show that they contained mushrooms, causing them to stress further. On stage, Ted and John yell nervously that they're on drugs as the latter urinates in his costume, causing Erin to angrily storm off. == Production == "The Sword in the Stoned" was directed by series creator and lead Seth MacFarlane, and written by Julius Sharpe in his third and final writing credit for the series. When Ted and John are doing repetition exercises, they tackle each other to the ground, which required a stuntman named Ashton to play the role of Ted, according to Max Burkholder, who portrays John. Burkholder also recalled that, when Ted was choking John in the scene, he kept making a noise during the choking, which made Bill, the cameraman, laugh, despite being a "stone face" that never laughs, noting that seeing him be amused by the noise he was making assured Burkholder that what he was doing was "hilarious". Burkholder found the filming of the play scenes "weird", as he was put in fake armor with a hose inside his suit—which was filled with water mixed with yellow food coloring—that was made to create the urine stream that comes out of John's armor in the episode; he also noted that it took around 45 minutes to put on and take off the armor. He revealed that he himself had to urinate during the filming, as doing a scene about a character having to do so "really [broke] my brain", with the fact that it took 45 minutes to get the suit off adding to the frustration. Jennifer Ashley Connell, who worked for wardrobe, had to repeatedly go to Burkholder quickly between takes to dry off his pants with two hair dryers to make it look like the fake urine hadn't already streamed down his pants, so they could get as many shots of it as possible. Francesca Xuereb guest stars in the episode as Erin, the cheerleader who stars in the play. Incumbent president Bill Clinton was portrayed by MacFarlane, with artificial intelligence (AI) being used to digitally make MacFarlane's face look like Clinton's during post-production. Before settling on AI, the crew tried to use traditional computer-generated imagery and prosthetics, which made him look "terrifying", resulting in them deciding that AI would give them a more accurate look. One of the original technologies considered was one where, after scanning MacFarlane, a mesh of his head was created, and they had to use computer graphics to replace MacFarlane's face with Clinton's. An issue was faced, however, when they found the archival footage used as reference from the Clinton Library—an official Presidential Library containing information related to Clinton—to be extremely low-quality, making it hard to properly emulate his face, since only still images were of acceptable quality, and there weren't references of his moving face to work off of. A forensic artist was hired to help with this, and they created a 3D model of Clinton's head in ZBrush, based off of his presidential portrait. The model head worked for still frames, but movement was still difficult to do realistically, due to it being made for a "single-point perspective", which made details like the cheekbones or other minor issues more noticeable when using it for the scene. Since this did not work, AI was ultimately chosen through the studio Deep Voodoo, which used large language models to teach the tool how to correctly replicate Clinton's appearance. Defending the episode's use of AI, MacFarlane noted that the crew did not want people to focus on the tool being used, trying to utilize it in a way that wouldn't distract from the humor and narrative. Like the rest of the series, the episode was shot using ViewScreen; MacFarlane was able to act live with the cast as Ted due to ViewScreen, a technology that allows the production crew to visualize what Ted will look like in each scene in real time. == Release and reception == "The Sword in the Stoned" was first released on March 5, 2026, on the American streaming service Peacock, along with the rest of the second season. Nate Richards of Collider highlighted the Dunkin' Donuts subplot as an example of Scott Grimes delivering a "lot of laughs" through his performance as Matty. Dustin Rowles of Pajiba called "The Sword in the Stoned" one of the season's many episodes he'd recommend, particularly for the scenes of Ted and John being high on mushrooms during the play. Oppositely, Nick Valdez of ComicBook.com ranked the episode as the worst of the second season, criticizing it for not having a "huge impact" on the Bennett family dynamic like other episodes of the season do, and Susan and Matty's side story as the main reason he felt it was "[kept] from being great". Valdez noted the episode for likely being an advertisement for Dunkin' Donuts, calling the plot's ending scene involving Clinton the reason "it just all sticks out like a sore thumb". === Response to AI usage === The episode's use of AI for MacFarlane's portrayal of Clinton proved controversial, mainly on social media, where audiences asserted that the crew should have gotten an actor that resembl
DUAL table
The DUAL table is a special one-row, one-column table present by default in Oracle and other database installations. In Oracle, the table has a single VARCHAR2(1) column called DUMMY that has a value of 'X'. It is suitable for use in selecting a pseudo column such as SYSDATE or USER. == Example use == Oracle's SQL syntax requires the FROM clause but some queries don't require any tables - DUAL can be used in these cases. == History == Charles Weiss explains why he created DUAL: I created the DUAL table as an underlying object in the Oracle Data Dictionary. It was never meant to be seen itself, but instead used inside a view that was expected to be queried. The idea was that you could do a JOIN to the DUAL table and create two rows in the result for every one row in your table. Then, by using GROUP BY, the resulting join could be summarized to show the amount of storage for the DATA extent and for the INDEX extent(s). The name, DUAL, seemed apt for the process of creating a pair of rows from just one. == Optimization == Beginning with 10g Release 1, Oracle no longer performs physical or logical I/O on the DUAL table, though the table still exists. DUAL is readily available for all authorized users in a SQL database. == In other database systems == Several other databases (including Microsoft SQL Server, MySQL, PostgreSQL, SQLite, and Teradata) enable one to omit the FROM clause entirely if no table is needed. This avoids the need for any dummy table. ClickHouse has a one-row system table system.one with a single column named "dummy" of type UInt8 and value 0. This table is implicitly used when no table is specified in the SELECT query. Firebird has a one-row system table RDB$DATABASE that is used in the same way as Oracle's DUAL, although it also has a meaning of its own. IBM Db2 has a view that resolves DUAL when using Oracle Compatibility. It also has a table called sysibm.sysdummy1 that has similar properties to the Oracle DUAL one. Informix: Informix version 11.50 and later has a table named sysmaster:"informix".sysdual with the same functionality but a more verbose name. You can use CREATE PUBLIC SYNONYM dual FOR sysmaster:"informix".sysdual to create a name dual in the current database with the same functionality. Microsoft Access: A table named DUAL may be created and the single-row constraint enforced via ADO (Table-less UNION query in MS Access) Microsoft SQL Server: SQL Server does not require a dummy table. Queries like 'select 1 + 1' can be run without a "from" clause/table name. MySQL allows DUAL to be specified as a table in queries that do not need data from any tables. It is suitable for use in selecting a result function such as SYSDATE() or USER(), although it is not essential. PostgreSQL: A DUAL-view can be added to ease porting from Oracle. Snowflake: DUAL is supported, but not explicitly documented. It appears in sample SQL for other operations in the documentation. SQLite: A VIEW named "dual" that works the same as the Oracle "dual" table can be created as follows: CREATE VIEW dual AS SELECT 'x' AS dummy; SAP HANA has a table called DUMMY that works the same as the Oracle "dual" table. Teradata database does not require a dummy table. Queries like 'select 1 + 1' can be run without a "from" clause/table name. Vertica has support for a DUAL table in their official documentation.
Darwin among the Machines
"Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."