Evolutionary robotics is an embodied approach to Artificial Intelligence (AI) in which robots are automatically designed using Darwinian principles of natural selection. The design of a robot, or a subsystem of a robot such as a neural controller, is optimized against a behavioral goal (e.g. run as fast as possible). Usually, designs are evaluated in simulations as fabricating thousands or millions of designs and testing them in the real world is prohibitively expensive in terms of time, money, and safety. An evolutionary robotics experiment starts with a population of randomly generated robot designs. The worst performing designs are discarded and replaced with mutations and/or combinations of the better designs. This evolutionary algorithm continues until a prespecified amount of time elapses or some target performance metric is surpassed. Evolutionary robotics methods are particularly useful for engineering machines that must operate in environments in which humans have limited intuition (nanoscale, space, etc.). Evolved simulated robots can also be used as scientific tools to generate new hypotheses in biology and cognitive science, and to test old hypothesis that require experiments that have proven difficult or impossible to carry out in reality. == History == In the early 1990s, two separate European groups demonstrated different approaches to the evolution of robot control systems. Dario Floreano and Francesco Mondada at EPFL evolved controllers for the Khepera robot. Adrian Thompson, Nick Jakobi, Dave Cliff, Inman Harvey, and Phil Husbands evolved controllers for a Gantry robot at the University of Sussex. However the body of these robots was presupposed before evolution. The first simulations of evolved robots were reported by Karl Sims and Jeffrey Ventrella of the MIT Media Lab, also in the early 1990s. However these so-called virtual creatures never left their simulated worlds. The first evolved robots to be built in reality were 3D-printed by Hod Lipson and Jordan Pollack at Brandeis University at the turn of the 21st century.
Joseph Stanislaus Ostoja-Kotkowski
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
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Li Sheng (computer scientist)
Li Sheng (Chinese: 李生; born 1943), is a professor at the School of Computer Science and Engineering, Harbin Institute of Technology (HIT), China. He began his research on Chinese-English machine translation in 1985, making himself one of the earliest Chinese scholars in this field. After that, he pursued in vast topics of natural language processing, including machine translation, information retrieval, question answering and applied artificial intelligence. He was the final review committee member for computer area in NSF China. Born and raised in Heilongjiang province, he graduated in 1965 from the computer specialty of HIT, which is one of the earliest computer specialties in Chinese universities. Then he started to work as a staff in the Computer specialty of HIT, which was finally granted as a department in 1985. Also from 1985, he was appointed to undertake a series administrative positions in HIT, e.g. Dean of Computer Department(1987–1988), Director of R&D Division (1988–1990), Chief R&D Officer and several other key leading positions in HIT. Resigned all his administrative positions in 2004, Li devoted himself as the director of MOE-Microsoft Join Key Lab of NLP& Speech (HIT), making it a leading NLP research group with more than 100 staffs and students working on various aspects of NLP. So far, the lab has already been granted for dozens of technology awards by the ministries of central government and local provincial government of China. Its research progresses are reported annually in top tier conferences including ACL, IJCAI, SIGIR etc. As one of the pioneers in NLP research in China, he contributes NLP in China not only in technology innovations but also in talents education. So far, his research group has graduated more than 60 Ph.D. and almost 200 M.E with NLP major. Most of them are now working as the chief researcher in various NLP groups of universities and companies in China, including several world-known NLP scholars, such as Wang Haifeng of Baidu, Zhou Ming of Microsoft Research, Zhang Min (张民) of Soochow University (China), and Zhao Tiejun (赵铁军) and Liu Ting (刘挺) of HIT. Owing to his contributions in Chinese language processing, Li was elected as the President of Chinese Information Processing Society of China (CIPSC) in 2011. He scaled this top level academic organization in China up to more than 3000 registered members, and promoted NLP into several national projects for research or industry development. In addition, the CIPSC is now enhancing its co-operations with world NLP organizations including ACL. == Machine Intelligence & Translation Laboratory (MI&TLAB) == Originates from Machine Translation Research Group of Computer Science Department, Harbin Institute of Technology, which was started Li in 1985. It is one of the earliest institutions engaged in MT research in China, featured by its investigations into Chinese-English machine translation. It is now running under the Research Center on Language Technology, School of Computer Science and Technology, HIT. Details for staffs and publications can be found at https://mitlab.hit.edu.cn. == MOE-MS Joint Key Lab of Natural Language Processing and Speech (HIT) == In June, 2000, the Joint HIT-Microsoft Machine Translation Lab was founded by MI&T Lab and Microsoft Research (China). It was the third joint lab established by Microsoft Research (China) with Chinese universities, and the only one focusing on Machine Translation. Based on this jointly lab, the cooperation between HIT and Microsoft gradually extended to the areas of machine translation, information retrieval, speech recognition and processing, natural language understanding. In Oct, 2004, the joint key lab was granted as one of the 10 joint key labs supported by the Microsoft Research of Asia and Ministry of Education in China. In July 2006, the Shenzhen extension of the lab was launched. More than 200 staff and students have undertaken research projects, including some sponsored by the National Natural Science Foundation of China and the National 863 program of China. Since 2005, the lab has also been organizing a summer camp in Harbin Institute of Technology, and approximately 150 faculty members and students from universities in China have participated. This summer workshop was organized annually until 2014, when it was organized formally as the summer school series by Chinese Information Processing Society, China. Through the lab, a Microsoft Research of Asia-HIT joint PhD program was implemented in 2012. == CEMT-I MT System == In May 1989, CEMT-I passed the formal project appraisal in Harbin, China. Capable of translating technical paper titles from Chinese to English, it is not only the first MT system completed by Li and his group, but also the first Chinese-English Translation system that passed the technical appraisal by Chinese government according to the public reports. It was then awarded the Second Prize of Ministry Level Technology Innovation by the former National Aerospace Industry Corporation in 1990. == Daya Translation Workstation == Owing to the technical achievements by Li's group in Chinese-English machine translation, the former National Aerospace Industry Corporation of China sponsored a commercial system development of "Daya Translation Station (MT)" in 1993. Designed as a comprehensive English composition aid for Chinese users, this system was finished and put into the market in 1995. And in 1997, this system was awarded the Second Prize of Ministry Level Technology Innovation by the former National Aerospace Industry Corporation. == BT863 MT System == From 1994, the researches in Li's lab were supported by National 863 Hi-tech Research and Development Program. During this period, the BT863 system was explored to employ one engine for both Chinese-English and English-Chinese translation. This system was proved to be the best performance among Chinese-English MT systems in the formal technical evaluation of National 863 program, yielding the Third Prize of Ministry Level Technology Innovation by the former National Aerospace Industry Corporation in 1997. == Next Generation IR == This is a key project granted by NSF China (with a joint sponsorship from MSRA) started form 2008. In contrast to his previous NSF grants for different NLP issues, Li explored in his last PI project on key technologies in personalized IR, together with researchers from Tsinghua University and Institute of Software, Chinese Academy of Science. With impressive publications in top tier journals and conferences (including breakthrough publications in SIGIR of his own group), this projected was approved "A-level" achievements by the NSF China office in 2012.
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DevOps toolchain
A DevOps toolchain is a set or combination of tools that aid in the delivery, development, and management of software applications throughout the systems development life cycle, as coordinated by an organization that uses DevOps practices. Generally, DevOps tools fit into one or more activities, which supports specific DevOps initiatives: Plan, Create, Verify, Package, Release, Configure, Monitor, and Version Control. == Toolchains == In software, a toolchain is the set of programming tools that is used to perform a complex software development task or to create a software product, which is typically another computer program or a set of related programs. In general, the tools forming a toolchain are executed consecutively so the output or resulting environment state of each tool becomes the input or starting environment for the next one, but the term is also used when referring to a set of related tools that are not necessarily executed consecutively. As DevOps is a set of practices that emphasizes the collaboration and communication of both software developers and other information technology (IT) professionals, while automating the process of software delivery and infrastructure changes, its implementation can include the definition of the series of tools used at various stages of the lifecycle; because DevOps is a cultural shift and collaboration between development and operations, there is no one product that can be considered a single DevOps tool. Instead a collection of tools, potentially from a variety of vendors, are used in one or more stages of the lifecycle. == Stages of DevOps == === Plan === Plan consists of two elements: "define" and "plan". This activity refers to the business value and application requirements. Specifically "Plan" activities include: Production metrics, objects and feedback Requirements Business metrics Update release metrics Release plan, timing and business case Security policy and requirement A combination of the IT personnel will be involved in these activities: business application owners, software development, software architects, continual release management, security officers and the organization responsible for managing the production of IT infrastructure. === Create === Create consists of the building, coding, and configuring of the software development process. The specific activities are: Design of the software and configuration Coding including code quality and performance Software build and build performance Release candidate Tools and vendors in this category often overlap with other categories. Because DevOps is about breaking down silos, this is reflective in the activities and product solutions. === Verify === Verify is directly associated with ensuring the quality of the software release; activities designed to ensure code quality is maintained and the highest quality is deployed to production. The main activities in this are: Acceptance testing Regression testing Security and vulnerability analysis Performance Configuration testing Solutions for verify-related activities generally fall under four main categories: Test automation, Static analysis, Test Lab, and Security. === Package === Package refers to the activities involved once the release is ready for deployment, often also referred to as staging or Preproduction / "preprod". This often includes tasks and activities such as: Approval/preapprovals Package configuration Triggered releases Release staging and holding === Release === Release related activities include schedule, orchestration, provisioning and deploying software into production and targeted environment. The specific Release activities include: Release coordination Deploying and promoting applications Fallbacks and recovery Scheduled/timed releases Solutions that cover this aspect of the toolchain include application release automation, deployment automation and release management. === Configure === Configure activities fall under the operation side of DevOps. Once software is deployed, there may be additional IT infrastructure provisioning and configuration activities required. Specific activities including: Infrastructure storage, database and network provisioning and configuring Application provision and configuration. The main types of solutions that facilitate these activities are continuous configuration automation, configuration management, and infrastructure as code tools. === Monitor === Monitoring is an important link in a DevOps toolchain. It allows IT organization to identify specific issues of specific releases and to understand the impact on end-users. A summary of Monitor related activities are: Performance of IT infrastructure End-user response and experience Production metrics and statistics Information from monitoring activities often impacts Plan activities required for changes and for new release cycles. === Version Control === Version Control is an important link in a DevOps toolchain and a component of software configuration management. Version Control is the management of changes to documents, computer programs, large web sites, and other collections of information. A summary of Version Control related activities are: Non-linear development Distributed development Compatibility with existent systems and protocols Toolkit-based design Information from Version Control often supports Release activities required for changes and for new release cycles.
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