opendatacenteralliance.org appears to have been closed down. The Open Data Center Alliance is an independent organization created in Oct. 2010 with the assistance of Intel to coordinate the development of standards for cloud computing. Approximately 100 companies, which account for more than $50bn of IT spending, have joined the Alliance, including BMW, Royal Dutch Shell and Marriott Hotels. "The Alliance's Cloud 2015 vision is aimed at creating a federated cloud where common standards will be laid down for those in the hardware and software arena." == Usage Model Roadmap == The organization sees a growing need for solutions developed in an open, industry-standard and multivendor fashion, and has thus created a usage model roadmap featuring 19 prioritized usage models. The usage models provide detailed requirements for data center and cloud solutions, and will include detailed technical documentation discussing the requirements for technology deployments. To further its roadmap development, the steering committee established five initial technical workgroups in the areas of infrastructure, management, regulation & ecosystem, security and services. The organization delivered a 0.50 usage model roadmap to Open Data Center Alliance technical workgroups in Oct. 2010, and delivered a full 1.0 roadmap for public use in June 2011. == Membership == The steering committee consists of BMW, Capgemini, China Life, China Unicom Group, Deutsche Bank, JPMorgan Chase, Lockheed Martin, Marriott International, Inc., National Australia Bank, Royal Dutch Shell, Terremark and UBS. Other members include AT&T, CERN, eBay, Logica, Motorola Mobility Inc. and Nokia. "The demands on the IT organisations are coming at such an alarming rate that there are many, many different solutions being developed today that maybe don't work with each other. We need one voice, one road map, so that companies are able to say to manufacturers here is a clear vision of what they should be developing their product to do." says Marvin Wheeler, of Terremark, chairman of the Alliance. "While it's unclear how successful this alliance will be, it is at least shedding the spotlight on cloud interoperability, a big emerging issue," said Larry Dignan of ZDNet.
Stride (software)
Stride was a cloud-based team business communication and collaboration tool, launched by Atlassian on 7 September 2017 to replace the cloud-based version of HipChat. Stride software was available to download onto computers running Windows, Mac or Linux, as well as Android, iOS smartphones, and tablets. Stride was bought by Atlassian's competitor Slack Technologies and was discontinued on February 15, 2019. The features of Stride include chat rooms, one-on-one messaging, file sharing, 5 GB of file storage, group voice and video calling, built-in collaboration tools, and up to 25,000 of searchable message history. Premium features include unlimited file storage, users, group chat rooms, file sharing and storage, apps, and history retention. The premium version, priced at $3/user/month, also includes advanced meeting functionality like group screen sharing, remote desktop control, and dial-in/dial-out capabilities. Stride offered integrations with Atlassian's other products as well as other third-party applications listed in the Atlassian Marketplace, such as GitHub, Giphy, Stand-Bot and Google Calendar. Stride offered additional features beyond messaging to improve efficiency and productivity. It aimed to reduce collaboration noise by introducing a "focus" mode, and eliminates the divisions between text chat, voice meetings, and videoconferencing, by simplifying transitioning between these modes in the same channel. On July 26, 2018, Atlassian announced that HipChat and Stride would be discontinued February 15, 2019, and that it had reached a deal to sell their intellectual property to Slack. Slack paid an undisclosed amount over three years to assume the user bases of the services, while Atlassian took a minority investment in Slack. The companies also announced a commitment to work on integration of Slack with Atlassian services.
Deepfake pornography
Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident
Adaptive neuro fuzzy inference system
An adaptive neuro-fuzzy inference system or adaptive network-based fuzzy inference system (ANFIS) is a kind of artificial neural network that is based on Takagi–Sugeno fuzzy inference system, a class of fuzzy models introduced by Tomohiro Takagi and Michio Sugeno for system identification and control. The technique was developed in the early 1990s. Since it integrates both neural networks and fuzzy logic principles, it has potential to capture the benefits of both in a single framework. Its inference system corresponds to a set of fuzzy IF–THEN rules that have learning capability to approximate nonlinear functions. Hence, ANFIS is considered to be a universal estimator. For using the ANFIS in a more efficient and optimal way, one can use the best parameters obtained by genetic algorithm. It has uses in intelligent situational aware energy management system. == ANFIS architecture == It is possible to identify two parts in the network structure, namely premise and consequence parts. In more details, the architecture is composed by five layers. The first layer takes the input values and determines the membership functions belonging to them. It is commonly called fuzzification layer. The membership degrees of each function are computed by using the premise parameter set, namely {a,b,c}. The second layer is responsible of generating the firing strengths for the rules. Due to its task, the second layer is denoted as "rule layer". The role of the third layer is to normalize the computed firing strengths, by dividing each value for the total firing strength. The fourth layer takes as input the normalized values and the consequence parameter set {p,q,r}. The values returned by this layer are the defuzzificated ones and those values are passed to the last layer to return the final output. === Fuzzification layer === The first layer of an ANFIS network describes the difference to a vanilla neural network. Neural networks in general are operating with a data pre-processing step, in which the features are converted into normalized values between 0 and 1. An ANFIS neural network doesn't need a sigmoid function, but it's doing the preprocessing step by converting numeric values into fuzzy values. Here is an example: Suppose, the network gets as input the distance between two points in the 2d space. The distance is measured in pixels and it can have values from 0 up to 500 pixels. Converting the numerical values into fuzzy numbers is done with the membership function which consists of semantic descriptions like near, middle and far. Each possible linguistic value is given by an individual neuron. The neuron “near” fires with a value from 0 until 1, if the distance is located within the category "near". While the neuron “middle” fires, if the distance in that category. The input value “distance in pixels” is split into three different neurons for near, middle and far.
AI art
Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa
Visual servoing
Visual servoing, also known as vision-based robot control and abbreviated VS, is a technique which uses feedback information extracted from a vision sensor (visual feedback) to control the motion of a robot. One of the earliest papers that talks about visual servoing was from the SRI International Labs in 1979. == Visual servoing taxonomy == There are two fundamental configurations of the robot end-effector (hand) and the camera: Eye-in-hand, or end-point open-loop control, where the camera is attached to the moving hand and observing the relative position of the target. Eye-to-hand, or end-point closed-loop control, where the camera is fixed in the world and observing the target and the motion of the hand. Visual Servoing control techniques are broadly classified into the following types: Image-based (IBVS) Position/pose-based (PBVS) Hybrid approach IBVS was proposed by Weiss and Sanderson. The control law is based on the error between current and desired features on the image plane, and does not involve any estimate of the pose of the target. The features may be the coordinates of visual features, lines or moments of regions. IBVS has difficulties with motions very large rotations, which has come to be called camera retreat. PBVS is a model-based technique (with a single camera). This is because the pose of the object of interest is estimated with respect to the camera and then a command is issued to the robot controller, which in turn controls the robot. In this case the image features are extracted as well, but are additionally used to estimate 3D information (pose of the object in Cartesian space), hence it is servoing in 3D. Hybrid approaches use some combination of the 2D and 3D servoing. There have been a few different approaches to hybrid servoing 2-1/2-D Servoing Motion partition-based Partitioned DOF Based == Survey == The following description of the prior work is divided into 3 parts Survey of existing visual servoing methods. Various features used and their impacts on visual servoing. Error and stability analysis of visual servoing schemes. === Survey of existing visual servoing methods === Visual servo systems, also called servoing, have been around since the early 1980s , although the term visual servo itself was only coined in 1987. Visual Servoing is, in essence, a method for robot control where the sensor used is a camera (visual sensor). Servoing consists primarily of two techniques, one involves using information from the image to directly control the degrees of freedom (DOF) of the robot, thus referred to as Image Based Visual Servoing (IBVS). While the other involves the geometric interpretation of the information extracted from the camera, such as estimating the pose of the target and parameters of the camera (assuming some basic model of the target is known). Other servoing classifications exist based on the variations in each component of a servoing system , e.g. the location of the camera, the two kinds are eye-in-hand and hand–eye configurations. Based on the control loop, the two kinds are end-point-open-loop and end-point-closed-loop. Based on whether the control is applied to the joints (or DOF) directly or as a position command to a robot controller the two types are direct servoing and dynamic look-and-move. Being one of the earliest works the authors proposed a hierarchical visual servo scheme applied to image-based servoing. The technique relies on the assumption that a good set of features can be extracted from the object of interest (e.g. edges, corners and centroids) and used as a partial model along with global models of the scene and robot. The control strategy is applied to a simulation of a two and three DOF robot arm. Feddema et al. introduced the idea of generating task trajectory with respect to the feature velocity. This is to ensure that the sensors are not rendered ineffective (stopping the feedback) for any the robot motions. The authors assume that the objects are known a priori (e.g. CAD model) and all the features can be extracted from the object. The work by Espiau et al. discusses some of the basic questions in visual servoing. The discussions concentrate on modeling of the interaction matrix, camera, visual features (points, lines, etc..). In an adaptive servoing system was proposed with a look-and-move servoing architecture. The method used optical flow along with SSD to provide a confidence metric and a stochastic controller with Kalman filtering for the control scheme. The system assumes (in the examples) that the plane of the camera and the plane of the features are parallel., discusses an approach of velocity control using the Jacobian relationship s˙ = Jv˙ . In addition the author uses Kalman filtering, assuming that the extracted position of the target have inherent errors (sensor errors). A model of the target velocity is developed and used as a feed-forward input in the control loop. Also, mentions the importance of looking into kinematic discrepancy, dynamic effects, repeatability, settling time oscillations and lag in response. Corke poses a set of very critical questions on visual servoing and tries to elaborate on their implications. The paper primarily focuses the dynamics of visual servoing. The author tries to address problems like lag and stability, while also talking about feed-forward paths in the control loop. The paper also, tries to seek justification for trajectory generation, methodology of axis control and development of performance metrics. Chaumette in provides good insight into the two major problems with IBVS. One, servoing to a local minima and second, reaching a Jacobian singularity. The author show that image points alone do not make good features due to the occurrence of singularities. The paper continues, by discussing the possible additional checks to prevent singularities namely, condition numbers of J_s and Jˆ+_s, to check the null space of ˆ J_s and J^T_s . One main point that the author highlights is the relation between local minima and unrealizable image feature motions. Over the years many hybrid techniques have been developed. These involve computing partial/complete pose from Epipolar Geometry using multiple views or multiple cameras. The values are obtained by direct estimation or through a learning or a statistical scheme. While others have used a switching approach that changes between image-based and position-based on a Lyapnov function. The early hybrid techniques that used a combination of image-based and pose-based (2D and 3D information) approaches for servoing required either a full or partial model of the object in order to extract the pose information and used a variety of techniques to extract the motion information from the image. used an affine motion model from the image motion in addition to a rough polyhedral CAD model to extract the object pose with respect to the camera to be able to servo onto the object (on the lines of PBVS). 2-1/2-D visual servoing developed by Malis et al. is a well known technique that breaks down the information required for servoing into an organized fashion which decouples rotations and translations. The papers assume that the desired pose is known a priori. The rotational information is obtained from partial pose estimation, a homography, (essentially 3D information) giving an axis of rotation and the angle (by computing the eigenvalues and eigenvectors of the homography). The translational information is obtained from the image directly by tracking a set of feature points. The only conditions being that the feature points being tracked never leave the field of view and that a depth estimate be predetermined by some off-line technique. 2-1/2-D servoing has been shown to be more stable than the techniques that preceded it. Another interesting observation with this formulation is that the authors claim that the visual Jacobian will have no singularities during the motions. The hybrid technique developed by Corke and Hutchinson, popularly called portioned approach partitions the visual (or image) Jacobian into motions (both rotations and translations) relating X and Y axes and motions related to the Z axis. outlines the technique, to break out columns of the visual Jacobian that correspond to the Z axis translation and rotation (namely, the third and sixth columns). The partitioned approach is shown to handle the Chaumette Conundrum discussed in. This technique requires a good depth estimate in order to function properly. outlines a hybrid approach where the servoing task is split into two, namely main and secondary. The main task is keep the features of interest within the field of view. While the secondary task is to mark a fixation point and use it as a reference to bring the camera to the desired pose. The technique does need a depth estimate from an off-line procedure. The paper discusses two examples for which depth estimates are obtained from robot odometry and by assuming that all
Project Debater
Project Debater is an IBM artificial intelligence project, designed to participate in a full live debate with expert human debaters. It follows on from the Watson project which played Jeopardy! == Development == Project Debater was developed at IBM's lab in Haifa, Israel. The project was proposed by Noam Slonim in 2011 as the IBM Research next Grand Challenge, following Deep Blue and the victory of Watson in Jeopardy! It was exposed for the first time in a closed media event at June 18, 2018, in San Francisco, under the leadership of Ranit Aharonov and Slonim, both from the IBM Research lab in Haifa, Israel. The AI technology debated two human debaters, Noa Ovadia, who was the 2016 Israeli debate champion and Dan Zafrir. The two debated on the topics "We should subsidize space exploration" and "Should we increase the use of telemedicine." A demonstration of Project Debater also aired on the Discovery Channel in June 2018 debating the question of whether sports gambling should be legalized. == Live Debate == On February 11, 2019, Project Debater was revealed to the world in a live debate in San Francisco. Nonpartisan media group Intelligence Squared U.S. Debates hosted the debate which was moderated by journalist John Donvan. The debate took place between Project Debater and Harish Natarajan, who holds the world record in number of debate competition victories. The motion was “We should subsidize preschools.” == That's Debatable Television Show == Project Debater was featured in a television series called “That’s Debatable” presented by Intelligence Squared U.S. Debates and Bloomberg Media. For each episode of “That’s Debatable,” Project Debater provided insight into three distinct debate topics on the redistribution of wealth, modern monetary theory, and a US-China space race. More than 5,000 arguments were submitted online from around the world across the three topics, which were then analyzed and distilled into key points that were highlighted on the television show and discussed by human debaters. == Artificial Intelligence Capabilities == To develop Project Debater, the IBM Research team had to endow the system with the following AI capabilities: Data-driven speech writing and delivery: Project Debater is the first demonstration of a computer that can digest massive corpora, and given a short description of a controversial topic, write a well-structured speech, and deliver it with clarity and purpose, while even incorporating humor where appropriate. Listening comprehension: the ability to identify the key concepts and claims hidden within long continuous spoken language. Four minutes of persuasive speech: the guarantee of producing four minutes of persuasive speech. Modeling human dilemmas: modeling the world of human controversy and dilemmas in a unique knowledge representation, enabling the system to suggest principled arguments as needed. An article on the project was published in Nature in March 2021.