Butler in a Box was an early voice-controlled home automation device developed in 1983 by magician Gus Searcy and programmer Franz Kavan. The device allowed users to control various home electronics, such as lights and phones, using voice commands. It predated modern smart speakers and virtual assistants by several decades. == History == The idea for the Butler in a Box originated in 1983 when Searcy was asked by friends why he couldn't simply command lights to turn on and off if he could pull rabbits out of hats, given his background as a professional magician. Searcy partnered with former IBM programmer Kavan to develop the device, with their first prototype being named "Sidney". The Butler in a Box combined remote control technology with voice recognition to enable control of home devices. However, it faced challenges due to the technological limitations of the era and its high price point of nearly $1,500 (equivalent to around $3,700 in 2021). == Features and functionality == Users could activate the Butler in a Box by speaking a wake word, typically a traditional butler name, and the device would address the user as "boss". It was capable of performing tasks such as: Turning lights on and off, controlling individual zones if lights were connected to remote control modules Making and receiving phone calls Setting timers Pairing with sensors to function as a security alarm system However, the device required extensive voice training for each user, a time-consuming process compared to modern voice recognition. Additionally, settings and trained commands would be lost if power was out for over 3 hours due to the volatile memory technology used at the time. == Reception and legacy == While innovative for its time, the Butler in a Box did not achieve widespread commercial success due to its high price and the technical limitations of the 1980s. Nevertheless, it served as an important early step in the development of home automation and showcased the potential for voice-controlled technology to enhance accessibility and convenience in the home. Decades later, products like Amazon Alexa, Google Home, and Apple's Siri would make voice-controlled smart home devices commonplace and affordable, building on the groundwork laid by early attempts like the Butler in a Box.
Generative art
Generative art is post-conceptual art that has been created (in whole or in part) with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator. "Generative art" often refers to algorithmic art (algorithmically determined computer generated artwork) and synthetic media (general term for any algorithmically generated media), but artists can also make generative art using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry, and tiling. Generative algorithms, algorithms programmed to produce artistic works through predefined rules, stochastic methods, or procedural logic, often yielding dynamic, unique, and contextually adaptable outputs—are central to many of these practices. == History == The use of the word "generative" in the discussion of art has developed over time. The use of "Artificial DNA" defines a generative approach to art focused on the construction of a system able to generate unpredictable events, all with a recognizable common character. The use of autonomous systems, required by some contemporary definitions, focuses a generative approach where the controls are strongly reduced. This approach is also named "emergent". Margaret Boden and Ernest Edmonds have noted the use of the term "generative art" in the broad context of automated computer graphics in the 1960s, beginning with artwork exhibited by Georg Nees and Frieder Nake in 1965: A. Michael Noll did his initial computer art, combining randomness with order, in 1962, and exhibited it along with works by Bell Julesz in 1965. The terms "generative art" and "computer art" have been used in tandem, and more or less interchangeably, since the very earliest days. The first such exhibition showed the work of Nees in February 1965, which some claim was titled "Generative Computergrafik". While Nees does not himself remember, this was the title of his doctoral thesis published a few years later. The correct title of the first exhibition and catalog was "computer-grafik". "Generative art" and related terms was in common use by several other early computer artists around this time, including Manfred Mohr and Ken Knowlton. Vera Molnár (born 1924) is a French media artist of Hungarian origin. Molnar is widely considered to be a pioneer of generative art, and is also one of the first women to use computers in her art practice. The term "Generative Art" with the meaning of dynamic artwork-systems able to generate multiple artwork-events was clearly used the first time for the "Generative Art" conference in Milan in 1998. The term has also been used to describe geometric abstract art where simple elements are repeated, transformed, or varied to generate more complex forms. Thus defined, generative art was practiced by the Argentinian artists Eduardo Mac Entyre and Miguel Ángel Vidal in the late 1960s. In 1972 the Romanian-born Paul Neagu created the Generative Art Group in Britain. It was populated exclusively by Neagu using aliases such as "Hunsy Belmood" and "Edward Larsocchi". In 1972 Neagu gave a lecture titled 'Generative Art Forms' at the Queen's University, Belfast Festival. In 1970 the School of the Art Institute of Chicago created a department called Generative Systems. As described by Sonia Landy Sheridan the focus was on art practices using the then new technologies for the capture, inter-machine transfer, printing and transmission of images, as well as the exploration of the aspect of time in the transformation of image information. Also noteworthy is John Dunn, first a student and then a collaborator of Sheridan. In 1988 Clauser identified the aspect of systemic autonomy as a critical element in generative art: It should be evident from the above description of the evolution of generative art that process (or structuring) and change (or transformation) are among its most definitive features, and that these features and the very term 'generative' imply dynamic development and motion. (the result) is not a creation by the artist but rather the product of the generative process - a self-precipitating structure. In 1989 Celestino Soddu defined the Generative Design approach to Architecture and Town Design in his book Citta' Aleatorie. In 1989 Franke referred to "generative mathematics" as "the study of mathematical operations suitable for generating artistic images." From the mid-1990s Brian Eno popularized the terms generative music and generative systems, making a connection with earlier experimental music by Terry Riley, Steve Reich and Philip Glass. From the end of the 20th century, communities of generative artists, designers, musicians and theoreticians began to meet, forming cross-disciplinary perspectives. The first meeting about generative Art was in 1998, at the inaugural International Generative Art conference at Politecnico di Milano University, Italy. In Australia, the Iterate conference on generative systems in the electronic arts followed in 1999. On-line discussion has centered around the eu-gene mailing list, which began late 1999, and has hosted much of the debate which has defined the field. These activities have more recently been joined by the Generator.x conference in Berlin starting in 2005. In 2012 the new journal GASATHJ, Generative Art Science and Technology Hard Journal was founded by Celestino Soddu and Enrica Colabella jointing several generative artists and scientists in the editorial board. Some have argued that as a result of this engagement across disciplinary boundaries, the community has converged on a shared meaning of the term. As Boden and Edmonds put it in 2011: Today, the term "Generative Art" is still current within the relevant artistic community. Since 1998 a series of conferences have been held in Milan with that title (Generativeart.com), and Brian Eno has been influential in promoting and using generative art methods (Eno, 1996). Both in music and in visual art, the use of the term has now converged on work that has been produced by the activation of a set of rules and where the artist lets a computer system take over at least some of the decision-making (although, of course, the artist determines the rules). In the call of the Generative Art conferences in Milan (annually starting from 1998), the definition of Generative Art by Celestino Soddu: Generative Art is the idea realized as genetic code of artificial events, as construction of dynamic complex systems able to generate endless variations. Each Generative Project is a concept-software that works producing unique and non-repeatable events, like music or 3D Objects, as possible and manifold expressions of the generating idea strongly recognizable as a vision belonging to an artist / designer / musician / architect /mathematician. Discussion on the eu-gene mailing list was framed by the following definition by Adrian Ward from 1999: Generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually (although not strictly) automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed. A similar definition is provided by Philip Galanter: Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art. Around the 2020s, generative AI models learned to imitate the distinct style of particular authors. For example, a generative image model such as Stable Diffusion is able to model the stylistic characteristics of an artist like Pablo Picasso (including his particular brush strokes, use of colour, perspective, and so on), and a user can engineer a prompt such as "an astronaut riding a horse, by Picasso" to cause the model to generate a novel image applying the artist's style to an arbitrary subject. Generative image models have received significant backlash from artists who object to their style being imitated without their permission, arguing that this harms their ability to profit from their own work. The emergence of text-to-image generative AI systems has expanded debates over authorship, copyright, and artistic labor. The main issues in these debates include the eligibility of AI-generated outputs for copyright protection and the legal and ethical questions of using existing copyrighted works as training data for generative AI systems. == Types == === Music === Johann Kirnberger's Mu
Polygraphic substitution
Polygraphic substitution is a substitution cipher in which a uniform substitution is performed on blocks of letters. When the length of the block is specifically known, more precise terms are used: for instance, a cipher in which pairs of letters are substituted is bigraphic. As a concept, polygraphic substitution contrasts with monoalphabetic (or simple) substitutions in which individual letters are uniformly substituted, or polyalphabetic substitutions in which individual letters are substituted in different ways depending on their position in the text. In theory, there is some overlap in these definitions; one could conceivably consider a Vigenère cipher with an eight-letter key to be an octographic substitution. In practice, this is not a useful observation since it is far more fruitful to consider it to be a polyalphabetic substitution cipher. == Specific ciphers == In 1563, Giambattista della Porta devised the first bigraphic substitution. However, it was nothing more than a matrix of symbols. In practice, it would have been all but impossible to memorize, and carrying around the table would lead to risks of falling into enemy hands. In 1854, Charles Wheatstone came up with the Playfair cipher, a keyword-based system that could be performed on paper in the field. This was followed up over the next fifty years with the closely related four-square and two-square ciphers, which are slightly more cumbersome but offer slightly better security. In 1929, Lester S. Hill developed the Hill cipher, which uses matrix algebra to encrypt blocks of any desired length. However, encryption is very difficult to perform by hand for any sufficiently large block size, although it has been implemented by machine or computer. This is therefore on the frontier between classical and modern cryptography. == Cryptanalysis of general polygraphic substitutions == Polygraphic systems do provide a significant improvement in security over monoalphabetic substitutions. Given an individual letter 'E' in a message, it could be encrypted using any of 52 instructions depending on its location and neighbors, which can be used to great advantage to mask the frequency of individual letters. However, the security boost is limited; while it generally requires a larger sample of text to crack, it can still be done by hand. One can identify a polygraphically-encrypted text by performing a frequency chart of polygrams and not merely of individual letters. These can be compared to the frequency of plaintext English. The distribution of digrams is even more stark than individual letters. For example, the six most common letters in English (23%) represent approximately half of English plaintext, but it takes only the most frequent 8% of the 676 digrams to achieve the same potency. In addition, even in a plaintext many thousands of characters long, one would expect that nearly half of the digrams would not occur, or only barely. In addition, looking over the text one would expect to see a fairly regular scattering of repeated text in multiples of the block length and relatively few that are not multiples. Cracking a code identified as polygraphic is similar to cracking a general monoalphabetic substitution except with a larger 'alphabet'. One identifies the most frequent polygrams, experiments with replacing them with common plaintext polygrams, and attempts to build up common words, phrases, and finally meaning. Naturally, if the investigation led the cryptanalyst to suspect that a code was of a specific type, like a Playfair or order-2 Hill cipher, then they could use a more specific attack.
Data stream management system
A data stream management system (DSMS) is a computer software system to manage continuous data streams. It is similar to a database management system (DBMS), which is, however, designed for static data in conventional databases. A DBMS also offers a flexible query processing so that the information needed can be expressed using queries. However, in contrast to a DBMS, a DSMS executes a continuous query that is not only performed once, but is permanently installed. Therefore, the query is continuously executed until it is explicitly uninstalled. Since most DSMS are data-driven, a continuous query produces new results as long as new data arrive at the system. This basic concept is similar to complex event processing so that both technologies are partially coalescing. == Functional principle == One important feature of a DSMS is the possibility to handle potentially infinite and rapidly changing data streams by offering flexible processing at the same time, although there are only limited resources such as main memory. The following table provides various principles of DSMS and compares them to traditional DBMS. == Processing and streaming models == One of the biggest challenges for a DSMS is to handle potentially infinite data streams using a fixed amount of memory and no random access to the data. There are different approaches to limit the amount of data in one pass, which can be divided into two classes. For the one hand, there are compression techniques that try to summarize the data and for the other hand there are window techniques that try to portion the data into (finite) parts. === Synopses === The idea behind compression techniques is to maintain only a synopsis of the data, but not all (raw) data points of the data stream. The algorithms range from selecting random data points called sampling to summarization using histograms, wavelets or sketching. One simple example of a compression is the continuous calculation of an average. Instead of memorizing each data point, the synopsis only holds the sum and the number of items. The average can be calculated by dividing the sum by the number. However, it should be mentioned that synopses cannot reflect the data accurately. Thus, a processing that is based on synopses may produce inaccurate results. === Windows === Instead of using synopses to compress the characteristics of the whole data streams, window techniques only look on a portion of the data. This approach is motivated by the idea that only the most recent data are relevant. Therefore, a window continuously cuts out a part of the data stream, e.g. the last ten data stream elements, and only considers these elements during the processing. There are different kinds of such windows like sliding windows that are similar to FIFO lists or tumbling windows that cut out disjoint parts. Furthermore, the windows can also be differentiated into element-based windows, e.g., to consider the last ten elements, or time-based windows, e.g., to consider the last ten seconds of data. There are also different approaches to implementing windows. There are, for example, approaches that use timestamps or time intervals for system-wide windows or buffer-based windows for each single processing step. Sliding-window query processing is also suitable to being implemented in parallel processors by exploiting parallelism between different windows and/or within each window extent. == Query processing == Since there are a lot of prototypes, there is no standardized architecture. However, most DSMS are based on the query processing in DBMS by using declarative languages to express queries, which are translated into a plan of operators. These plans can be optimized and executed. A query processing often consists of the following steps. === Formulation of continuous queries === The formulation of queries is mostly done using declarative languages like SQL in DBMS. Since there are no standardized query languages to express continuous queries, there are a lot of languages and variations. However, most of them are based on SQL, such as the Continuous Query Language (CQL), StreamSQL and ESP. There are also graphical approaches where each processing step is a box and the processing flow is expressed by arrows between the boxes. The language strongly depends on the processing model. For example, if windows are used for the processing, the definition of a window has to be expressed. In StreamSQL, a query with a sliding window for the last 10 elements looks like follows: This stream continuously calculates the average value of "price" of the last 10 tuples, but only considers those tuples whose prices are greater than 100.0. In the next step, the declarative query is translated into a logical query plan. A query plan is a directed graph where the nodes are operators and the edges describe the processing flow. Each operator in the query plan encapsulates the semantic of a specific operation, such as filtering or aggregation. In DSMSs that process relational data streams, the operators are equal or similar to the operators of the Relational algebra, so that there are operators for selection, projection, join, and set operations. This operator concept allows the very flexible and versatile processing of a DSMS. === Optimization of queries === The logical query plan can be optimized, which strongly depends on the streaming model. The basic concepts for optimizing continuous queries are equal to those from database systems. If there are relational data streams and the logical query plan is based on relational operators from the Relational algebra, a query optimizer can use the algebraic equivalences to optimize the plan. These may be, for example, to push selection operators down to the sources, because they are not so computationally intensive like join operators. Furthermore, there are also cost-based optimization techniques like in DBMS, where a query plan with the lowest costs is chosen from different equivalent query plans. One example is to choose the order of two successive join operators. In DBMS this decision is mostly done by certain statistics of the involved databases. But, since the data of a data streams is unknown in advance, there are no such statistics in a DSMS. However, it is possible to observe a data stream for a certain time to obtain some statistics. Using these statistics, the query can also be optimized later. So, in contrast to a DBMS, some DSMS allows to optimize the query even during runtime. Therefore, a DSMS needs some plan migration strategies to replace a running query plan with a new one. === Transformation of queries === Since a logical operator is only responsible for the semantics of an operation but does not consist of any algorithms, the logical query plan must be transformed into an executable counterpart. This is called a physical query plan. The distinction between a logical and a physical operator plan allows more than one implementation for the same logical operator. The join, for example, is logically the same, although it can be implemented by different algorithms like a Nested loop join or a Sort-merge join. Notice, these algorithms also strongly depend on the used stream and processing model. Finally, the query is available as a physical query plan. === Execution of queries === Since the physical query plan consists of executable algorithms, it can be directly executed. For this, the physical query plan is installed into the system. The bottom of the graph (of the query plan) is connected to the incoming sources, which can be everything like connectors to sensors. The top of the graph is connected to the outgoing sinks, which may be for example a visualization. Since most DSMSs are data-driven, a query is executed by pushing the incoming data elements from the source through the query plan to the sink. Each time when a data element passes an operator, the operator performs its specific operation on the data element and forwards the result to all successive operators. == Examples == AURORA, StreamBase Systems, Inc. Archived 23 March 2009 at the Wayback Machine Hortonworks DataFlow IBM Streams NIAGARA Query Engine NiagaraST: A Research Data Stream Management System at Portland State University Odysseus, an open source Java-based framework for Data Stream Management Systems Pipeline DB PIPES Archived 24 December 2016 at the Wayback Machine, webMethods Business Events QStream SAS Event Stream Processing SQLstream STREAM StreamGlobe StreamInsight TelegraphCQ WSO2 Stream Processor
Cipher device
A cipher device was a term used by the US military in the first half of the 20th century to describe a manually operated cipher equipment that converted the plaintext into ciphertext or vice versa. A similar term, cipher machine, was used to describe the cipher equipment that required external power for operation. Cipher box or crypto box is a physical cryptographic device used to encrypt and decrypt messages between plaintext (unencrypted) and ciphertext (encrypted or secret) forms. The ciphertext is suitable for transmission over a channel, such as radio, that might be observed by an adversary the communicating parties wish to conceal the plaintext from.
Negobot
Negobot also referred to as Lolita or Lolita chatbot is a chatterbot that was introduced to the public in 2013, designed by researchers from the University of Deusto and Optenet to catch online pedophiles. It is a conversational agent that utilizes natural language processing (NLP), information retrieval (IR) and Automatic Learning. Because the bot poses as a young female in order to entice and track potential predators, it became known in media as the "virtual Lolita", in reference to Vladimir Nabokov's novel. == Background == In 2013, the University of Deusto researchers published a paper on their work with Negobot and disclosed the text online. In their abstract, the researchers addressed the issue that an increasing number of children are using the internet and that these young users are more susceptible to existing internet risks. Their main objective was to create a chatterbot with the ability to trap online predators that posed a threat to children. They intended to deploy the bot into sites frequented by predators such as social networks and chatrooms. The university researchers used information provided by anti-pedophilia activist organization Perverted-Justice, including examples of online encounters and conversations with sexual predators, to supplement the program's artificial intelligence system. == Features == === Programmed persona === The chatterbot takes the guise of a naive and vulnerable 14-year-old girl. The bot's programmers used methods of artificial intelligence and natural language processing to create a conversational agent fluent in typical teenage slang, misspellings, and knowledge of pop culture. Through these linguistic features, the bot is able to mimic the conversational style of young teenagers. It also features split personalities and seven different patterns of conversation. Negobot's primary creator, Dr. Carlos Laorden, expressed the significance of the bot's distinguishable style of communication, stating that normally, "chatbots tend to be very predictable. Their behavior and interest in a conversation are flat, which is a problem when attempting to detect untrustworthy targets like paedophiles." What makes Negobot different is its game theory feature, which makes it able to "maintain a much more realistic conversation." Apart from being able to imitate a stereotypical teenager, the program is also able to translate messages into different languages. === Game theory === Negobot's designers programmed it with the ability to treat conversations with potential predators as if it were a game, the objective being to collect as much information on the suspect as possible that could provide evidence of pedophilic characteristics and motives. The use of game theory shapes the decisions the bot makes and the overall direction of the conversation. The bot initiates its undercover operations by entering a chat as a passive participant, waiting to be chatted by a user. Once a user elicits conversation, the bot will frame the conversation in such a way that keeps the target engaged, extracting personal information and discouraging it from leaving the chat. The information is then recorded to be potentially sent to the police. If the target seems to lose interest, the bot attempts to make it feel guilty by expressing sentiments of loneliness and emotional need through strategic, formulated responses, ultimately prolonging interaction. In addition, the bot may provide fake information about itself in attempt to lure the target into physical meetings. === Limitations === Despite being able to carry out a realistic conversation, Negobot is still unable to detect linguistic subtleties in the messages of others, including sarcasm. == Controversy == John Carr, a specialist in online child safety, expressed his concern to BBC over the legality of this undercover investigation. He claimed that using the bot on unsuspecting internet users could be considered a form of entrapment or harassment. The type of information that Negobot collects from potential online predators, he said, is unlikely to be upheld in court. Furthermore, he warned that relying on only software without any real-world policing risks enticing individuals to do or say things that they would not have if real-world policing were a factor.
Consumer relationship system
Consumer relationship systems (CRS) are specialized customer relationship management (CRM) software applications that are used to handle a company's dealings with its customers. Current consumer relationship systems integrate the software with telephone and call recording systems as well as with corporate systems for input and reporting. Customers can provide input from the company's website directly into the CRS. These systems are popular because they can deliver the 'voice of the consumer' that contributes to product quality improvement and that ultimately increases corporate profits. Consumer relationship systems that provide automated support as well as advanced systems may have artificial intelligence (AI) interfaces that can extract and analyse data collected, or handle basic questions and complaints. == History == The first CRS was developed in the 1980s. In 1981 Michael Wilke and Robert Thornton founded Wilke/Thornton, Inc in Columbus, Ohio, to develop new CRS software.