The Artificial Intelligence Insight forums, also known as the A.I. Insight forums, are a series of forums to build consensus on how the United States Congress should craft A.I. legislation. Organized by Senate Majority Leader Charles "Chuck" Schumer, the first of nine closed-door forums convened on September 13, 2023. == Background == Amid a surge in the popularity and advancement of artificial intelligence, senator Chuck Schumer launched an effort to establish a framework for the regulation of A.I. in April 2023. By the end of June, a preliminary framework – dubbed the "SAFE Innovation Framework" – was established and presented to Congress. Schumer also announced a series of forums wherein tech leaders who were well-acquainted with A.I. would help to "educate" Congress on the risks and problems that A.I. poses. Many tech leaders including Sam Altman, Elon Musk, and Sundar Pichai were set to attend the meetings. Many U.S. lawmakers and senators such as Mike Rounds and Todd Young were also set to attend. == September 13 forum == The overarching consensus following the conclusion of the September 13 forum was that there "should be" regulations regarding the use and advancement of A.I., but it should not be made "too fast". Many tech executives who attended the forum also warned senators of the risks and threats that A.I. could pose. Musk, who attended the forum, stated afterwards that there was "overwhelming consensus" on the regulation of A.I. === Invitees === This is a list of people who were invited to attend the September 13 forum. Elon Musk (Tesla, SpaceX, X Corp.) Sam Altman (OpenAI) Bill Gates (ex–Microsoft) Jensen Huang (Nvidia) Alex Karp (Palantir) Satya Nadella (Microsoft) Arvind Krishna (IBM) Sundar Pichai (Alphabet Inc., Google) Eric Schmidt (ex–Google) Mark Zuckerberg (Meta) Charles Rivkin (Motion Picture Association) Liz Shuler (AFL-CIO) Meredith Stiehm (Writers Guild of America) Randi Weingarten (American Federation of Teachers) Maya Wiley (LCCHR) == October 24 forum == The second of nine forums was hosted on October 24, 2023, as federal A.I. regulation drew nearer. According to Schumer's office, the forum was centered mainly on how A.I. could "enable innovation", and the innovation that is needed for the safe progression of A.I. At the forum, Senators Brian Schatz and John Kennedy introduced the "Schatz-Kennedy A.I. Labeling Act", a new piece of A.I. legislation that would provide "more transparency on A.I.-generated content". Following the forum, Senator Rounds stated that in order to fuel the development of A.I., a total estimated $56 billion would be needed for the next three years. Rounds, alongside Senator Young and Schumer, also highlighted the need to outcompete China and workforce initiatives. === Invitees === 21 people were invited to attend the forum, and were composed largely of venture capitalists, academics, civil rights campaigners, and industry figures. Some key figures included venture capitalists Marc Andreessen and John Doerr. == Future == Over the course of fall 2023, there is slated to be a total of nine forums on the topic of A.I., with the first hosted on September 13.
Continuous Exposure Management
Continuous Exposure Management (CEM) is a cybersecurity approach that provides continuous, real-time monitoring, assessment, and prioritization of an organization’s security vulnerabilities and exposures. CEM focuses on identifying and mitigating risks by analyzing attack paths and providing recommendations, ensuring organizations maintain a resilient cybersecurity posture. == Overview == CEM platforms enable organizations to detect and remediate cybersecurity exposures, such as vulnerabilities, misconfigurations and weak credentials, across their entire ecosystem, including on-premises, cloud environments, and hybrid infrastructures. By simulating potential attack scenarios and mapping attack paths, these platforms help organizations understand how exposures could be exploited and which ones pose the greatest risk to critical assets. The XM Cyber Continuous Exposure Management platform, for example, integrates automated attack path mapping and contextual risk analysis, allowing security teams to prioritize remediation efforts effectively. In 2023, the platform uncovered over 40 million exposures affecting 11.5 million critical business entities. As cyber threats evolve, CEM platforms are becoming indispensable for modern enterprises. According to Gartner, organizations implementing continuous exposure management are three times less likely to experience a breach by 2026. In addition to risk mapping and simulation, some CEM approaches incorporate automated security validation to verify the exploitability of identified vulnerabilities. Platforms such as Pentera utilize automated security testing to emulate real-world adversary behavior across the network, identifying how security gaps could be leveraged to gain access to critical assets. This process aims to move beyond theoretical risk assessments by providing empirical evidence of exposure, allowing security teams to focus remediation efforts on validated attack vectors. By integrating this validation phase into the broader exposure management lifecycle, organizations can refine their prioritization strategies based on the actual effectiveness of their existing security controls and the proven reachability of their most sensitive data. == Key features == CEM platforms are designed to address the dynamic nature of cybersecurity risks through the following features: Attack Path Simulation: Continuously maps attack paths to critical assets, highlighting exploitable exposures and chokepoints. Risk Prioritization: Focuses on exposures with the highest impact on critical assets, ensuring efficient allocation of resources. Remediation Guidance: Provides clear, actionable recommendations to resolve exposures and strengthen defenses. Integration with Existing Tools: Seamlessly works with Security Information and Event Management (SIEM), ticketing, and Security Orchestration, Automation, and Response (SOAR) systems. Real-time Monitoring: Offers continuous visibility into exposures, ensuring that new ones are quickly identified and addressed.
Plant Nanny
Plant Nanny is a water tracker mobile application which reminds users to drink water. It was developed by Taiwanese app maker Fourdesire. The app was first released in 2013 and is available on the Apple App Store for iPhones and the Google Play Store for Android devices. == Description == Play Nanny uses a game method that allows users to turn their virtual selves into plants, which grows and thrives as the user drinks more water. The app sends occasional push notifications to remind users to drink water throughout the day. Users can choose from a wide range of plants, including cacti and carnations, and track their water intake. The app uses two resources, How to calculate how much water you should drink by Jennifer Stone (2018) and Human energy requirements by the Food and Agriculture Organization (2004), to calculate the recommended daily water intake for its users. Upon downloading the app, users are prompted to input basic personal information which is then used to calculate the recommended daily water intake and prompts them to drink the appropriate amount. == Accolades ==
Art Recognition
Art Recognition is a Swiss technology company headquartered in Adliswil, within the Zurich metropolitan area, Switzerland. Art Recognition specializes in the application of artificial intelligence (AI) for art authentication and the detection of art forgeries. == Overview == Art Recognition was established in 2019 by Dr. Carina Popovici and Christiane Hoppe-Oehl. Art Recognition employs a combination of machine learning techniques, computer vision algorithms, and deep neural networks to assess the authenticity of artworks. The company's technology undergoes a process of data collection, dataset preparation, and training. === Academic partnerships and grants === Art Recognition has established a relationship with Innosuisse, a Swiss innovation agency, to expand its research and development initiatives. It has also formed a strategic collaboration with Nils Büttner, an art historian and professor at the State Academy of Fine Arts Stuttgart (ABK Stuttgart). === Notable developments === In May 2024, Art Recognition played a key role in identifying counterfeit artworks, including alleged Monets and Renoirs, being sold on eBay. Germann Auction in November 2024 became the first auction house to successfully conduct a sale of artwork authenticated entirely by artificial intelligence. As of January 2025, Art Recognition has appointed art crime expert and Pulitzer Prize finalist Noah Charney as an advisor. === Recognition and debates === The company was featured on the front page of The Wall Street Journal for its involvement in the authentication case of the Flaget Madonna, believed to have been partly painted by Raphael. A broadcast by the Swiss public television SRF covered how the algorithm can be used to detect art forgeries with high accuracy. The technology developed by Art Recognition has been recognized for its role in providing a technology-based art authentication solution, compared to traditional methods. == Controversial cases == Art Recognition's AI algorithm has been applied to several high-profile and controversial artworks, sparking significant interest and debate in the art world. Samson and Delilah at the National Gallery in London: The National Gallery's "Samson and Delilah", traditionally attributed to the artist Rubens, has also been examined using Art Recognition's AI, which has assessed the painting as non-authentic. De Brecy Tondo Madonna. A research team from Bradford University and the University of Nottingham initially attributed the painting to Raphael, employing an AI face recognition software, while the AI developed at Art Recognition returned a negative result. The Bradford group's AI was trained on 49 images, whereas Art Recognition employed a larger dataset of over 100 images. Lucian Freud Painting Controversy: Featured in The New Yorker, a painting attributed to Lucian Freud became a subject of dispute. Art Recognition's AI analysis played a big role in examining the painting's authenticity. Titian at Kunsthaus Zürich: A painting attributed to Titian, housed at Kunsthaus Zürich, has been a topic of debate among art experts. The application of Art Recognition's technology offered a new perspective. Following this debate, Kunsthaus Zürich has announced plans to initiate a comprehensive project aimed at resolving the authenticity questions surrounding the painting. Art Recognition has contributed to the authentication debate surrounding The Polish Rider, a painting traditionally attributed to Rembrandt but subject to scholarly debate.
Toad Data Modeler
Toad Data Modeler is a database design tool allowing users to visually create, maintain, and document new or existing database systems, and to deploy changes to data structures across different platforms. It is used to construct logical and physical data models, compare and synchronize models, generate complex SQL/DDL, create and modify scripts, and reverse and forward engineer databases and data warehouse systems. Toad's data modelling software is used for database design, maintenance and documentation. == Product History == Toad Data Modeler was previously called "CASE Studio 2" before it was acquired from Charonware by Quest Software in 2006. Quest Software was acquired by Dell on September 28, 2012. On October 31, 2016, Dell finalized the sale of Dell Software to Francisco Partners and Elliott Management, which relaunched on November 1, 2016 as Quest Software. == Features/Usages == Multiple database support - Connect multiple databases natively and simultaneously, including Oracle, SAP, MySQL, SQL Server, PostgreSQL, Db2, Ingres, and Microsoft Access. Data modelling tool - Create database structures or make changes to existing models automatically and provide documentation on multiple platforms. Logical and physical modelling - Build complex logical and physical entity relationship models and reverse, forward, and engineer databases. Reporting - Generate detailed reports on existing database structures. Model customization - Add logical data to user diagrams to customize user models. All Toad products typically have 2 releases per year. == Other features == Model Actions (Compare Models, Convert Model, Merge Models, Generate Change Script) Version Control System (Apache Subversion) Naming Conventions Auto Layout Multiple Workspaces Scripting and Customization Automation Object Gallery Full Unicode Support Integration with Toad for Oracle == Related Software == Erwin Data Modeler Oracle SAP MySQL SQL Server PostgreSQL IBM Db2 Ingres Microsoft Access
Morphing
Morphing is a special effect in motion pictures and animations that changes (or morphs) one image or shape into another through a seamless transition. Traditionally such a depiction would be achieved through dissolving techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. A similar method is applied to audio recordings, for example, by changing voices or vocal lines. == Early transformation techniques == Long before digital morphing, several techniques were used for similar image transformations. Some of those techniques are closer to a matched dissolve – a gradual change between two pictures without warping the shapes in the images – while others did change the shapes in between the start and end phases of the transformation. === Tabula scalata === Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface. Each image is only correctly visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other. === Mechanical transformations === Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size, simply by slowly sliding away a piece of glass with black paint that masked part of another glass plate with the picture. === Matched dissolves === In the first half of the 19th century "dissolving views" were a popular type of magic lantern show, mostly showing landscapes gradually dissolving from a day to night version or from summer to winter. Other uses are known, for instance Henry Langdon Childe showed groves transforming into cathedrals. The 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine. The Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer. In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". === Animation === In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau was printed around 1835 and shows the head of a woman changing into a witch and then into a monster. Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. == Digital morphing == In the early 1990s, computer techniques capable of more convincing results saw increasing use. These involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, and mark where these same points existed on the second face. The computer would then distort the first face to have the shape of the second face at the same time that it faded the two faces. To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. === Concerns === In 1993 concerns were raised about the authenticity of digitally altered images arising from morphing. Images of fake "tween" people found half way between two morphed people created a skeptical media long before AI. === Early examples === In or before 1986, computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States. The effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator (1986). It featured scenes with a computer generated spaceship that appeared to change shape. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique that was also developed by programmer Bob Hoffman. The 1986 movie The Golden Child implemented early digital morphing effects from animal to human and back. Willow (1988) featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year later in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic, using software developed by Tom Brigham and Doug Smythe (AMPAS). In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Amiga in 1992. Other programs became widely available within a year, and for a time the effect became common to the point of cliché. For high-end use, Elastic Reality (based on MorphPlus) saw its first feature film use in In The Line of Fire (1993) and was used in Quantum Leap (work performed by the Post Group). At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. The Snoop Dogg music video "Who Am I? (What's My Name?)", where Snoop Dogg and the others morph into dogs. Elastic Reality was later purchased by Avid, having already become the de facto system of choice, used in many hundreds of films. The technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve". The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In late 1991 Yeti Productions employed a young Stephen Regelous to run it's 486 computer graphics system in Wellington New Zealand. After producer Barry Thomas showed him Michael Jackson's "Black or White", Regelous wrote 10,000 lines of C++ code of triangle-based digital morphing software. Together they created morphing based TV commercials for The NZ Cancer Society, Fit food, Salvation Army and others. The Fit food commercial employed morphing with 35mm, pin registered, digitally controlled motion control designed and made by Russell Collins with software by Stephen Regelous. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in which people with lush, thick hair morph into one another, reminiscent of the end sequence of the "Black or White" video. === Present use === Morphing algorithms continue to advance and programs can automatically morph images that correspond closely enough with relatively little instruction from the user. This has led to the use of morphing techniques to create convincing slow-motion effects where none existed in the original film or video footage by morphing between each individual frame using optical flow technology. Morphing has also appeared as a transition technique between one scene and another in television shows, even if the contents of the two images are entirely unrelated. The algorithm in this case attempts to find corresponding points between the images and distort one into the other as they crossfade. While perhaps less obvious than in the past, morphing is used heavily today. Whereas the effect was initially a novelty, today, morphing effects are most often designed to be seamless and invisible to the eye. A particular use for morphing effects is modern digital font design. Using morphing technology, called interpolation or multiple master tech, a designer can create an intermediate between two styles, for example generating a semibold font by compromising between a bold and regular style, or extend a trend to create an ultra-light or ultra-bold. The technique is commonly used by font design studios. == Software == After Effects Animate Elastic Reality FantaMorph Gryphon Software Morph Morph Age Morpheus Nuke SilhouetteFX
Serverless computing
Serverless computing is "a cloud service category where the customer can use different cloud capability types without the customer having to provision, deploy and manage either hardware or software resources, other than providing customer application code or providing customer data. Serverless computing represents a form of virtualized computing", according to ISO/IEC 22123-2. Serverless computing is a broad ecosystem that includes the cloud provider, function as a service (FaaS), managed services, tools, frameworks, engineers, stakeholders, and other interconnected elements. == Overview == Serverless is a misnomer in the sense that servers are still used by cloud service providers to execute code for developers. The definition of serverless computing has evolved over time, leading to varied interpretations. According to Ben Kehoe, serverless represents a spectrum rather than a rigid definition. Emphasis should shift from strict definitions and specific technologies to adopting a serverless mindset, focusing on leveraging serverless solutions to address business challenges. Serverless computing does not eliminate complexity but shifts much of it from the operations team to the development team. However, this shift is not absolute, as operations teams continue to manage aspects such as identity and access management (IAM), networking, security policies, and cost optimization. Additionally, while breaking down applications into finer-grained components can increase management complexity, the relationship between granularity and management difficulty is not strictly linear. There is often an optimal level of modularization where the benefits outweigh the added management overhead. According to Yan Cui, serverless techniques should be adopted only when they help to deliver customer value faster. And while adopting, organizations should take small steps and de-risk along the way. == Challenges == Serverless applications are prone to fallacies of distributed computing. In addition, they are prone to the following fallacies: Versioning is simple Compensating transactions always work Observability is optional === Monitoring and debugging === Monitoring and debugging serverless applications can present unique challenges due to their distributed, event-driven nature and proprietary environments. Traditional tools may fall short, making it difficult to track execution flows across services. However, modern solutions such as distributed tracing tools (e.g., AWS X-Ray, Datadog), centralized logging, and cloud-agnostic observability platforms are mitigating these challenges. Emerging technologies like OpenTelemetry, AI-powered anomaly detection, and serverless-specific frameworks are further improving visibility and root cause analysis. While challenges persist, advancements in monitoring and debugging tools are steadily addressing these limitations. === Security === According to OWASP, serverless applications are vulnerable to variations of traditional attacks, insecure code, and some serverless-specific attacks (like denial of wallet). So, the risks have changed and attack prevention requires a shift in mindset. === Vendor lock-in === Serverless computing is provided as a third-party service. Applications and software that run in the serverless environment are by default locked to a specific cloud vendor. This issue is exacerbated in serverless computing, as with its increased level of abstraction, public vendors only allow customers to upload code to a FaaS platform without the authority to configure underlying environments. More importantly, when considering a more complex workflow that includes backend-as-a-service (BaaS), a BaaS offering can typically only natively trigger a FaaS offering from the same provider. This makes the workload migration in serverless computing virtually impossible. Therefore, considering how to design and deploy serverless workflows from a multi-cloud perspective could mitigate this. == High-performance computing == Serverless computing may not be ideal for certain high-performance computing (HPC) workloads due to resource limits often imposed by cloud providers, including maximum memory, CPU, and runtime restrictions. For workloads requiring sustained or predictable resource usage, bulk-provisioned servers can sometimes be more cost-effective than the pay-per-use model typical of serverless platforms. However, serverless computing is increasingly capable of supporting specific HPC workloads, particularly those that are highly parallelizable and event-driven, by leveraging its scalability and elasticity. The suitability of serverless computing for HPC continues to evolve with advancements in cloud technologies. == Anti-patterns == The grain of sand anti-pattern refers to the creation of excessively small components (e.g., functions) within a system, often resulting in increased complexity, operational overhead, and performance inefficiencies. Lambda pinball is a related anti-pattern that can occur in serverless architectures when functions (e.g., AWS Lambda, Azure functions) excessively invoke each other in fragmented chains, leading to latency, debugging and testing challenges, and reduced observability. These anti-patterns are associated with the formation of a distributed monolith. These anti-patterns are often addressed through the application of clear domain boundaries, which distinguish between public and published interfaces. Public interfaces are technically accessible interfaces, such as methods, classes, API endpoints, or triggers, but they do not come with formal stability guarantees. In contrast, published interfaces involve an explicit stability contract, including formal versioning, thorough documentation, a defined deprecation policy, and often support for backward compatibility. Published interfaces may also require maintaining multiple versions simultaneously and adhering to formal deprecation processes when breaking changes are introduced. Fragmented chains of function calls are often observed in systems where serverless components (functions) interact with other resources in complex patterns, sometimes described as spaghetti architecture or a distributed monolith. In contrast, systems exhibiting clearer boundaries typically organize serverless components into cohesive groups, where internal public interfaces manage inter-component communication, and published interfaces define communication across group boundaries. This distinction highlights differences in stability guarantees and maintenance commitments, contributing to reduced dependency complexity. Additionally, patterns associated with excessive serverless function chaining are sometimes addressed through architectural strategies that emphasize native service integrations instead of individual functions, a concept referred to as the functionless mindset. However, this approach is noted to involve a steeper learning curve, and integration limitations may vary even within the same cloud vendor ecosystem. Reporting on serverless databases presents challenges, as retrieving data for a reporting service can either break the bounded contexts, reduce the timeliness of the data, or do both. This applies regardless of whether data is pulled directly from databases, retrieved via HTTP, or collected in batches. Mark Richards refers to this as the reach-in reporting anti-pattern. A possible alternative to this approach is for databases to asynchronously push the necessary data to the reporting service instead of the reporting service pulling it. While this method requires a separate contract between services and the reporting service and can be complex to implement, it helps preserve bounded contexts while maintaining a high level of data timeliness. == Principles == Adopting DevSecOps practices can help improve the use and security of serverless technologies. In serverless applications, the distinction between infrastructure and business logic is often blurred, with applications typically distributed across multiple services. To maximize the effectiveness of testing, integration testing is emphasized for serverless applications. Additionally, to facilitate debugging and implementation, orchestration is used within the bounded context, while choreography is employed between different bounded contexts. Ephemeral resources are typically kept together to maintain high cohesion. However, shared resources with long spin-up times, such as AWS RDS clusters and landing zones, are often managed in separate repositories, deployment pipeline, and stacks.