Biorobotics is an interdisciplinary science that combines the fields of biomedical engineering, cybernetics, and robotics to develop new technologies that integrate biology with mechanical systems to develop more efficient communication, alter genetic information, and create machines that imitate biological systems. == Cybernetics == Cybernetics focuses on the communication and system of living organisms and machines that can be applied and combined with multiple fields of study such as biology, mathematics, computer science, engineering, and much more. This discipline falls under the branch of biorobotics because of its combined field of study between biological bodies and mechanical systems. Studying these two systems allows for advanced analysis on the functions and processes of each system as well as the interactions between them. === History === Cybernetic theory is a concept that has existed for centuries, dating back to the era of Plato where he applied the term to refer to the "governance of people". The term cybernetique is seen in the mid-1800s used by physicist André-Marie Ampère. The term cybernetics was popularized in the late 1940s to refer to a discipline that touched on, but was separate, from established disciplines, such as electrical engineering, mathematics, and biology. === Science === Cybernetics is often misunderstood because of the breadth of disciplines it covers. In the early 20th century, it was coined as an interdisciplinary field of study that combines biology, science, network theory, and engineering. Today, it covers all scientific fields with system related processes. The goal of cybernetics is to analyze systems and processes of any system or systems in an attempt to make them more efficient and effective. === Applications === Cybernetics is used as an umbrella term so applications extend to all systems related scientific fields such as biology, mathematics, computer science, engineering, management, psychology, sociology, art, and more. Cybernetics is used amongst several fields to discover principles of systems, adaptation of organisms, information analysis and much more. == Genetic engineering == Genetic engineering is a field that uses advances in technology to modify biological organisms. Through different methods, scientists are able to alter the genetic material of microorganisms, plants and animals to provide them with desirable traits. For example, making plants grow bigger, better, and faster. Genetic engineering is included in biorobotics because it uses new technologies to alter biology and change an organism's DNA for their and society's benefit. === History === Although humans have modified genetic material of animals and plants through artificial selection for millennia (such as the genetic mutations that developed teosinte into corn and wolves into dogs), genetic engineering refers to the deliberate alteration or insertion of specific genes to an organism's DNA. The first successful case of genetic engineering occurred in 1973 when Herbert Boyer and Stanley Cohen were able to transfer a gene with antibiotic resistance to a bacterium. === Science === There are three main techniques used in genetic engineering: The plasmid method, the vector method and the biolistic method. ==== Plasmid method ==== This technique is used mainly for microorganisms such as bacteria. Through this method, DNA molecules called plasmids are extracted from bacteria and placed in a lab where restriction enzymes break them down. As the enzymes do this, some develop a rough edge that resembles that of a staircase which is considered 'sticky' and capable of reconnecting. These 'sticky' molecules are inserted into another bacteria where they will connect to the DNA rings with the altered genetic material. ==== Vector method ==== The vector method is considered a more precise technique than the plasmid method as it involves the transfer of a specific gene instead of a whole sequence. In the vector method, a specific gene from a DNA strand is isolated through restriction enzymes in a laboratory and is inserted into a vector. Once the vector accepts the genetic code, it is inserted into the host cell where the DNA will be transferred. ==== Biolistic method ==== The biolistic method is typically used to alter the genetic material of plants. This method embeds the desired DNA with a metallic particle such as gold or tungsten in a high speed gun. The particle is then bombarded into the plant. Due to the high velocities and the vacuum generated during bombardment, the particle is able to penetrate the cell wall and inserts the new DNA into the cell. === Applications === Genetic engineering has many uses in the fields of medicine, research and agriculture. In the medical field, genetically modified bacteria are used to produce drugs such as insulin, human growth hormones and vaccines. In research, scientists genetically modify organisms to observe physical and behavioral changes to understand the function of specific genes. In agriculture, genetic engineering is extremely important as it is used by farmers to grow crops that are resistant to herbicides and to insects such as BTCorn. == Bionics == Bionics is a medical engineering field and a branch of biorobotics consisting of electrical and mechanical systems that imitate biological systems, such as prosthetics and hearing aids. It's a portmanteau that combines biology and electronics. === History === The history of bionics goes as far back in time as ancient Egypt. A prosthetic toe made out of wood and leather was found on the foot of a mummy. The time period of the mummy corpse was estimated to be from around the fifteenth century B.C. Bionics can also be witnessed in ancient Greece and Rome. Prosthetic legs and arms were made for amputee soldiers. In the early 16th century, a French military surgeon by the name of Ambroise Pare became a pioneer in the field of bionics. He was known for making various types of upper and lower prosthetics. One of his most famous prosthetics, Le Petit Lorrain, was a mechanical hand operated by catches and springs. During the early 19th century, Alessandro Volta further progressed bionics. He set the foundation for the creation of hearing aids with his experiments. He found that electrical stimulation could restore hearing by inserting an electrical implant to the saccular nerve of a patient's ear. In 1945, the National Academy of Sciences created the Artificial Limb Program, which focused on improving prosthetics since there were a large number of World War II amputee soldiers. Since this creation, prosthetic materials, computer design methods, and surgical procedures have improved, creating modern-day bionics. === Science === ==== Prosthetics ==== The important components that make up modern-day prosthetics are the pylon, the socket, and the suspension system. The pylon is the internal frame of the prosthetic that is made up of metal rods or carbon-fiber composites. The socket is the part of the prosthetic that connects the prosthetic to the person's missing limb. The socket consists of a soft liner that makes the fit comfortable, but also snug enough to stay on the limb. The suspension system is important in keeping the prosthetic on the limb. The suspension system is usually a harness system made up of straps, belts or sleeves that are used to keep the limb attached. The operation of a prosthetic could be designed in various ways. The prosthetic could be body-powered, externally-powered, or myoelectrically powered. Body-powered prosthetics consist of cables attached to a strap or harness, which is placed on the person's functional shoulder, allowing the person to manipulate and control the prosthetic as he or she deems fit. Externally-powered prosthetics consist of motors to power the prosthetic and buttons and switches to control the prosthetic. Myoelectrically powered prosthetics are new, advanced forms of prosthetics where electrodes are placed on the muscles above the limb. The electrodes will detect the muscle contractions and send electrical signals to the prosthetic to move the prosthetic. The downside to this type of prosthetic is that if the sensors are not placed correctly on the limb then the electrical impulses will fail to move the prosthetic. TrueLimb is a specific brand of prosthetics that uses myoelectrical sensors which enable a person to have control of their bionic limb. ==== Hearing aids ==== Four major components make up the hearing aid: the microphone, the amplifier, the receiver, and the battery. The microphone takes in outside sound, turns that sound to electrical signals, and sends those signals to the amplifier. The amplifier increases the sound and sends that sound to the receiver. The receiver changes the electrical signal back into sound and sends the sound into the ear. Hair cells in the ear will sense the vibrations from the sound, convert the vibrations into nerve signals, and send it to the brain so
Elasticity (computing)
In computing, elasticity is defined as "the degree to which a system is able to adapt to workload changes by provisioning and de-provisioning resources in an autonomic manner, such that at each point in time the available resources match the current demand as closely as possible". Elasticity is a defining characteristic that differentiates cloud computing from previously proposed distributed computing paradigms, such as grid computing. The dynamic adaptation of capacity, e.g., by altering the use of computing resources, to meet a varying workload is called "elastic computing". In the world of distributed systems, there are several definitions according to the authors; some consider the concepts of scalability a sub-part of elasticity, others as being distinct. == Purpose == Elasticity aims to match the amount of resources allocated to a service with the amount of resources it actually requires, avoiding over- or under-provisioning. Over-provisioning, i.e., allocating more resources than required, should be avoided as it may incur extra costs (monetary, energy, operational, etc.) for unused or underutilized resources. For example, if a website is over-provisioned with two cloud computing resources to handle current demand that only requires one resource, the costs of maintaining the second resource would effectively be wasted. Under-provisioning, i.e., allocating fewer resources than required, must be avoided; otherwise, the service cannot serve its users with a good service. For example, under-provisioning a website may make it seem slow or unreachable, because not enough resources have been allocated to meet current demand. == Example == Elasticity can be illustrated through an example of a service provider who wants to run a website on the cloud. At moment t 0 {\displaystyle t_{0}} , the website is unpopular and a single machine is sufficient to serve all users. At moment t 1 {\displaystyle t_{1}} , the website suddenly becomes popular, and a single machine is no longer sufficient to serve all users. Based on the number of web users simultaneously accessing the website and the resource requirements of the web server, ten machines are needed. An elastic system should immediately detect this condition and provision nine additional machines from the cloud to serve all users responsively. At time t 2 {\displaystyle t_{2}} , the website becomes unpopular again. The ten machines currently allocated to the website are mostly idle and a single machine would be sufficient to serve the few users who are accessing the website. An elastic system should immediately detect this condition and deprovision nine machines, releasing them to the cloud. == Problems == === Resource provisioning time === Resource provisioning takes time. A cloud virtual machine (VM) can be acquired at any time by the user; however, it may take up to several minutes for the acquired VM to be ready to use. The VM startup time is dependent on factors such as image size, VM type, data center location, number of VMs, etc. Cloud providers have different VM startup performance. This implies that any control mechanism designed for elastic applications must consider the time needed for the resource provisioning actions to take effect. === Monitoring elastic applications === Elastic applications can allocate and deallocate resources on demand for specific application components. This makes cloud resources volatile, and traditional monitoring tools which associate monitoring data with a particular resource, such as Ganglia or Nagios, are no longer suitable for monitoring the behavior of elastic applications. For example, during its lifetime, a data storage tier of an elastic application might add and remove data storage VMs due to cost and performance requirements, varying the number of used VMs. Thus, additional information is needed in monitoring elastic applications, such as associating the logical application structure over the underlying virtual infrastructure. This in turn generates other problems, such as data aggregation from multiple VMs towards extracting the behavior of the application component running on top of those VMs, as different metrics may need to be aggregated differently (e.g., CPU usage could be averaged, network transfer might be summed up). === Stakeholder requirements === When deploying applications in cloud infrastructures (IaaS/PaaS), stakeholder requirements need to be considered in order to ensure that elastic behavior meets stakeholder needs. Traditionally, the optimal trade-off between cost and quality or performance is considered; however, for real world cloud users, requirements regarding elastic behavior are more complex and target multiple dimensions of elasticity (e.g., SYBL). === Multiple levels of control === Cloud applications vary in type and complexity, with multiple levels of artifacts deployed in layers. Controlling such structures must take into consideration a variety of issues. For multi-level control, control systems need to consider the impact lower level control has upon higher level ones, and vice versa (e.g., controlling virtual machines, web containers, or web services in the same time), as well as conflicts that may appear between various control strategies from various levels. Elastic strategies on in cloud computing can take advantage of control-theoretic methods (e.g., predictive control has been experimented in cloud computing scenarios by showing considerable advantages with respect to reactive methods). One approach to multi-level elastic clouc control is rSYBL.
Fuzzy associative matrix
A fuzzy associative matrix expresses fuzzy logic rules in tabular form. These rules usually take two variables as input, mapping cleanly to a two-dimensional matrix, although theoretically a matrix of any number of dimensions is possible. From the perspective of neuro-fuzzy systems, the mathematical matrix is called a "Fuzzy associative memory" because it stores the weights of the perceptron. == Applications == In the context of game AI programming, a fuzzy associative matrix helps to develop the rules for non-player characters. Suppose a professional is tasked with writing fuzzy logic rules for a video game monster. In the game being built, entities have two variables: hit points (HP) and firepower (FP): This translates to: IF MonsterHP IS VeryLowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS LowHP AND MonsterFP IS VeryWeakFP THEN Retreat IF MonsterHP IS MediumHP AND MonsterFP is VeryWeakFP THEN Defend Multiple rules can fire at once, and often will, because the distinction between "very low" and "low" is fuzzy. If it is more "very low" than it is low, then the "very low" rule will generate a stronger response. The program will evaluate all the rules that fire and use an appropriate defuzzification method to generate its actual response. An implementation of this system might use either the matrix or the explicit IF/THEN form. The matrix makes it easy to visualize the system, but it also makes it impossible to add a third variable just for one rule, so it is less flexible. == Identify a rule set == There is no inherent pattern in the matrix. It appears as if the rules were just made up, and indeed they were. This is both a strength and a weakness of fuzzy logic in general. It is often impractical or impossible to find an exact set of rules or formulae for dealing with a specific situation. For a sufficiently complex game, a mathematician would not be able to study the system and figure out a mathematically accurate set of rules. However, this weakness is intrinsic to the realities of the situation, not of fuzzy logic itself. The strength of the system is that even if one of the rules is wrong, even greatly wrong, other rules that are correct are likely to fire as well and they may compensate for the error. This does not mean a fuzzy system should be sloppy. Depending on the system, it might get away with being sloppy, but it will underperform. While the rules are fairly arbitrary, they should be chosen carefully. If possible, an expert should decide on the rules, and the sets and rules should be tested vigorously and refined as needed. In this way, a fuzzy system is like an expert system. (Fuzzy logic is used in many true expert systems, as well.)
Stephanie Dinkins
Stephanie Dinkins (born 1964) is a transdisciplinary American artist based in Brooklyn, New York. She creates art about artificial intelligence (AI) as it intersects race, gender, and history. Her aim is to "create a unique culturally attuned AI entity in collaboration with coders, engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community." Dinkins projects include Conversations with Bina48, a series of conversations between Dinkins and the first social, artificially intelligent humanoid robot BINA48 who looks like a black woman and Not the Only One, a multigenerational artificially intelligent memoir trained off of three generations of Dinkins's family. == Early life and education == Dinkins was born in Perth Amboy, New Jersey to Black American parents who raised her in Staten Island, New York. She credits her grandmother with teaching her how to think about art as a social practice, saying "my grandmother . . . was a gardener and the garden was her art . . . that was a community practice." Dinkins attended the International Center of Photography School in New York City in 1995, where she completed the general studies in photography certificate program. Dinkins received a MFA in photography from the Maryland Institute College of Art in 1997 She completed the Independent Study Program at the Whitney Museum of American Art in 1998. == Career == Dinkins is the Yayoi Kusama Professor of Art at Stony Brook University in New York. == Activism == Dinkins advocates for co-creation within a social practice art framework, so that vulnerable communities understand how to use technology to their advantage, instead of being subjected to their use. This is exemplified in her works such as Project al-Khwarzmi, a series of workshops entitled PAK POP-UP at the nonprofit community center Recess in Brooklyn, NY. The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. == Art == Dinkins's practice employs technologies including, but not limited to, new media such as artificial intelligence and machine learning. Dinkins uses oral history techniques of interviewing to craft community-authored narratives and databases which inform the subjects of her work and serve as acts of social intervention or protest. === Conversations with Bina48 (2014–present) === Dinkins began working on Conversations with Bina48 in 2014. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. Dinkins mirrors Bina48 while they discuss identity and technological singularity. In 2010, Hanson Robotics, an engineering and robotics company known for its development of humanoid robots, developed and released BINA48. Bina48 is a robot modeled after the memories, beliefs, attitudes, commentary and mannerisms of Bina Aspen Rothblatt, the spousal partner of Martine Rothblatt. Both Bina and Martine Rothblatt own Bina48 under their organization, the Terasem Movement Foundation. Five years after Bina48 was released, Dinkins came across a YouTube video of Bina48. She asked, "how did a black woman become the most advanced of the technologies at the time?" Her questioning led her to travel to Lincoln, Vermont (the site of the Terasem Movement Foundation) where she conducted a series of interviews with Bina48 and engaged the robot in conversations pertaining to race, intimacy and the nature of being. The conversations suggest opportunities for complementing human existence with artificially intelligent agents that have an identity and history, but also show artificial intelligence's current limitations. Although it is based on a black woman, Dinkins found that Bina48 was shaped by the biases of its white, male creators. === Project al Kwarizmi (PAK) (2017–present) === Project al Kwarizmi (PAK) was a series of pop up workshops in Brooklyn, NY at Eyebeam and Recess; Manhattan, New York at Google; and Durham, North Carolina at Duke University. The workshops were centered for "communities of color that use art as a vehicle to help citizens understand how algorithms, the artificially intelligent systems they underpin, and big data impact their lives and empowers them to do something about it. Project al-Khwarizmi uses art and aesthetics as the common language to help citizens understand what algorithms and artificial intelligent systems are, and where these systems already impact our daily lives." === Not the Only One (N'TOO) (2018–present) === Not the only one (N’TOO) is a voice-interactive chatbot that was trained with data from members of her family to tell a multi-generational story. Dinkins described Not The Only One (NTOO or N'TOO) as an "experimental" multigenerational memoir of one Black American family told from the "mind" of an artificial intelligence of evolving intellect. N'TOO uses a recursive neural network, a deep learning algorithm. It is a voice-interactive AI robot designed, trained, and aligned with the needs and ideals of black and brown people who are drastically underrepresented in the tech sector. NTOO can also be described as a "physically embodied artificially intelligent agent that senses and acts on its world." == Exhibitions == Dinkins's work is exhibited internationally at various public, private, community, and institutional venues, including the Whitney Museum of American Art, the de Young Museum, the Philadelphia Museum of Art, the Studio Museum in Harlem;, Museum of Contemporary Photography, the Long Island Museum of American Art, History, and Carriages, the International Center of Photography in New York, Herning Kunstmuseum in Herning, Denmark, The Barbican in London, UK, Islip Art Museum, Wave Hill, Taller Boricua, the Queens Museum, and the corner of Putnam and Malcolm X Blvd in Bedford Stuyvesant, Brooklyn, New York. She has presented her work in symposia at the Museum of Modern Art, amongst other venues. == Future Histories Studio == Dinkins is the founder and director of Future Histories Studio, a research laboratory for arts-centered inquiry and production based at Stony Brook University. The studio was established with support from the Mellon Foundation as part of the Digital Inquiry, Speculation, Collaboration, and Optimism (DISCO) network. Future Histories Studio operates as an interdisciplinary hub exploring the intersections of art, technology, race, and storytelling through collaborative and practice-based research. Its activities include exhibitions, workshops, and public programs that examine the social and cultural implications of emerging technologies, particularly artificial intelligence and data systems. == Awards and recognition == Dinkins is the recipient of many awards, including: the 2023 LG Guggenheim Award, an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art; a Berggruen Institute artist fellowship; a Sundance New Frontiers Story Lab fellowship; a Soros Equality Fellowship; a Lucas Artists fellowship; a Creative Capital grant; a Bell Labs artist residency; a Blade of Grass fellowship; and a Data & Society fellowship. == Media coverage == Dinkins appeared in episode six of the HBO television series Random Acts of Flyness directed by Terence Nance, where she described her conversations with BINA48. == Other activities == Dinkins was part of the juries that selected Shu Lea Cheang for the LG Guggenheim Award in 2024.
List of artificial intelligence artists
Many notable artificial intelligence artists have created a wide variety of artificial intelligence art from the 1960s to today. These include: == 20th century == Harold Cohen, active from 1960s to 2010s. Cohen's work is primarily with AARON, a series of computer programs that autonomously create original images. Eric Millikin, active from 1980s to present. Millikin's work includes AI-generated virtual reality, video art, poetry, music, and performance art, on topics such as animal rights, climate change, anti-racism, witchcraft, and the occult. Karl Sims, active from 1980s to present. Sims is best known for using particle systems and artificial life in computer animation. == 21st century == Refik Anadol, active from 2010s to present. Anadol's work includes video installations based on generative algorithms with artificial intelligence. Sougwen Chung, active from 2010s to present. Chung's work includes performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. Stephanie Dinkins, active from 2010s to present. Dinkins' work includes recordings of conversations with an artificially intelligent robot that resembles a black woman, discussing topics such as race and the nature of being. Jake Elwes, active from 2010s to present. Their practice is the exploration of artificial intelligence, queer theory and technical biases. Libby Heaney, active from 2010s to present. Heaney's practice includes work with chatbots. Mario Klingemann, active from 2010s to present. Klingemann's works examine creativity, culture, and perception through machine learning and artificial intelligence. Mauro Martino, active from 2010s to present. Martino's work includes design, data visualization and infographics. Trevor Paglen, active from 2000s to present. Paglen's practice includes work in photography and geography, on topics like mass surveillance and data collection. Anna Ridler, active from 2010s to present. Ridler works with collections of information, including self-generated data sets, often working with floral photography.
Texture compression
Texture compression is a specialized form of image compression designed for storing texture maps in 3D computer graphics rendering systems. Unlike conventional image compression algorithms, texture compression algorithms are optimized for random access. Texture compression can be applied to reduce memory usage at runtime. Texture data is often the largest source of memory usage in a mobile application. == Tradeoffs == In their seminal paper on texture compression, Beers, Agrawala and Chaddha list four features that tend to differentiate texture compression from other image compression techniques. These features are: Decoding Speed It is highly desirable to be able to render directly from the compressed texture data and so, in order not to impact rendering performance, decompression must be fast. Random Access Since predicting the order that a renderer accesses texels would be difficult, any texture compression scheme must allow fast random access to decompressed texture data. This tends to rule out many better-known image compression schemes such as JPEG or run-length encoding. Compression Rate and Visual Quality In a rendering system, lossy compression can be more tolerable than for other use cases. Some texture compression libraries, such as crunch, allow the developer to flexibly trade off compression rate vs. visual quality, using methods such as rate–distortion optimization (RDO). Encoding Speed Texture compression is more tolerant of asymmetric encoding/decoding rates as the encoding process is often done only once during the application authoring process. Given the above, most texture compression algorithms involve some form of fixed-rate lossy vector quantization of small fixed-size blocks of pixels into small fixed-size blocks of coding bits, sometimes with additional extra pre-processing and post-processing steps. Block Truncation Coding is a very simple example of this family of algorithms. Because their data access patterns are well-defined, texture decompression may be executed on-the-fly during rendering as part of the overall graphics pipeline, reducing overall bandwidth and storage needs throughout the graphics system. As well as texture maps, texture compression may also be used to encode other kinds of rendering map, including bump maps and surface normal maps. Texture compression may also be used together with other forms of map processing such as mipmaps and anisotropic filtering. == Availability == Some examples of practical texture compression systems are S3 Texture Compression (S3TC), PVRTC, Ericsson Texture Compression (ETC) and Adaptive Scalable Texture Compression (ASTC); these may be supported by special function units in modern graphics processing units (GPUs). OpenGL and OpenGL ES, as implemented on many video accelerator cards and mobile GPUs, can support multiple common kinds of texture compression - generally through the use of vendor extensions. == Supercompression == A compressed-texture can be further compressed in what is called "supercompression". Fixed-rate texture compression formats are optimized for random access and are much less efficient compared to image formats such as PNG. By adding further compression, a programmer can reduce the efficiency gap. The extra layer can be decompressed by the CPU so that the GPU receives a normal compressed texture, or in newer methods, decompressed by the GPU itself. Supercompression saves the same amount of VRAM as regular texture compression, but saves more disk space and download size. == Neural Texture Compression == Random-Access Neural Compression of Material Textures (Neural Texture Compression) is a Nvidia's technology which enables two additional levels of detail (16× more texels, so four times higher resolution) while maintaining similar storage requirements as traditional texture compression methods. The key idea is compressing multiple material textures and their mipmap chains together, and using a small neural network, that is optimized for each material, to decompress them.
Willy's Chocolate Experience
Willy's Chocolate Experience was an unlicensed event based on Charlie and the Chocolate Factory that took place in Glasgow, Scotland, in February 2024. The event was promoted as an immersive and interactive family experience, illustrated on a promotional website with "dreamlike" AI-generated images. Once it was discovered that the event was held in a sparsely decorated warehouse, many customers complained, and the police were called to the venue. The event went viral on the Internet and attracted worldwide media attention. The event drew comparisons to the 2008 Lapland New Forest controversy, the 2014 Tumblr fan convention DashCon, and Billy McFarland's 2017 Fyre Festival. == Background and advertising == The event was stated to take place over the weekend of 24–25 February 2024. Promotional material advertised "stunning and intricately designed settings inspired by Roald Dahl's timeless tale" and "an array of delectable treats scattered throughout the experience". Both the website and promotional material used poor-quality AI-generated images, which included several spelling errors such as "cartchy tuns" and "a pasadise of sweet teats" and nonsensical words such as "catgacating" and "exarserdray". Tickets cost up to £35 per person. While the event was being promoted in early February, a Reddit user who saw Facebook advertisements suspected it to be a scam and was surprised that people were apparently buying tickets based solely on AI-generated images. The event was organised by House of Illuminati, a company registered to Billy Coull which claimed to offer "unparalleled immersive experiences". An investigation by Third Force News conducted after the event described Coull's previous "murky involvement in the charity sector." Coull had previously registered several other companies and claimed to work as a "consultant" for the now-defunct brand Empowerity, formerly known as the charity Gowanbank Community Hub. In 2021, Gowanbank was forced to remove claims of a £95-per-ticket fundraising "gala" at DoubleTree Glasgow which had been falsely advertised to feature TV personalities and performers including Gok Wan and Joe Black. Coull had claimed to be a doctor with a fake degree from a false university that provided "metaphysical degrees", and had attempted to use the charity to win the 2022 Glasgow City Council election in the seat of Greater Pollok, though he never registered for the election. In the summer of 2023, he independently published 17 AI-generated books on various topics, including vaccine conspiracy theories. Rolling Stone concluded that House of Illuminati's websites and event descriptions were likely written by an AI chatbot, such as ChatGPT. Three actors were hired to portray "Willy McDuff", a character based on Willy Wonka. One of them, Paul Connell, said that the cast were given one day to learn the script. Another actor playing Willy McDuff was 18-year-old Michael Archibald; the experience was his first ever acting job, and he was given the script at 6 pm on Friday before the event began on Saturday. Kirsty Paterson, an actress who played one of the Oompa-Loompas (called "Wonkidoodles" in the script), said that the job offer had been posted on Indeed.com and offered £500 for two days of work. The day before the event, the actors attended a dress rehearsal at the sparsely decorated venue. They were told that others would be working through the night on the production. When they returned on the day of the event, the venue was in the same condition. Paterson was given her costume an hour before the event opened, saying that "We were just handed an Amazon box that probably arrived that morning." == Script == The script for the event is titled Wonkidoodles at McDuff's Chocolate Factory: A Script, and describes Willy McDuff leading an audience through the Garden of Enchantment and the Twilight Tunnel. Once there, they are confronted by a character called The Unknown, described as "an evil chocolate maker who lives in the walls" who seeks to steal the magical "Anti-Graffiti Gobstopper" from McDuff's Imagination Lab. The gobstopper is "a sweet so powerful, it can make any room sparkle without lifting a finger". McDuff defeats The Unknown by amplifying the power of the gobstopper and causing his enemy to be "gently swept up by a robotic vacuum, humorously ending the confrontation". The script was unusual in that it included stage directions for the audience, and descriptions of their reactions. Connell described it as "15 pages of AI-generated gibberish of me just monologuing these mad things", and compared the vacuum cleaner plot point to that of the Nintendo video game Luigi's Mansion. Interviewed after the event, Coull claimed to have written the script himself, using AI only to "check spelling, grammar, and continuity" as he said he had dyslexia. == Event == The event was held at the Box Hub Warehouse event space in Whiteinch, an industrial area of Glasgow. Customers described the venue as "little more than an abandoned, empty warehouse", with set dressings including a small bouncy castle, AI-generated backdrop images pinned to some of the walls, and props which were "strewn about on bare concrete floors". The venue's windows were dirty and its air conditioning systems were left exposed. Paterson has stated that by the time she saw the venue, she had already signed her contract and "didn't want to disappoint the kids", and thus chose to proceed with the work. The Unknown was played by a 16-year-old actress named Felicia Dawkins, who wore a silver mask and a black cloak. Young children were frightened by the character, who appeared from behind a large rectangular mirror. Despite the script calling for The Unknown to be defeated with a vacuum cleaner, no such prop was provided, and actors were instead asked to improvise. Connell said that he and other employees were told to give each child "two jelly beans and a quarter of a cup of lemonade", although the limited supply of jelly beans quickly ran out. Paterson and another "Wonkidoodle" actress, Jenny Fogarty, said that after the first three 45-minute performances, the cast were told to abandon the script and instead let guests walk through the venue, a process that Paterson said took "about two minutes". The character of The Unknown, previously introduced as the main antagonist, was now "scaring children for no reason". One of the actors playing McDuff improvised the idea that children should pull a "silly face" at The Unknown to scare them away, but Dawkins said that, in other cases, she "just had to awkwardly walk back to my corner". Connell was told he would be given a 15-minute break every 45 minutes, but on the day of the event, he played Willy McDuff for three and a half hours without a break. After returning from a lunch break, Connell encountered a crowd of customers demanding refunds from Coull, and the other actors were unsure what to do next. After being told that the event was now cancelled halfway through its opening day, the actors left and went to a pub. Upon returning to the venue some time later, Connell said that he felt "the threat of violence had become quite high" and that there were two police vans and two squad cars at the scene. == Customer reviews and response == Willy's Chocolate Experience was widely criticised by those who attended it, many of whom demanded refunds. One customer, who had driven with his children for two hours to reach the event, described it as an "absolute con". Other visitors who arrived after the event was closed and were not informed of its cancellation requested compensation for wasted rail fares. Following the event's cancellation, Coull offered to refund 850 people, a statement repeated by the event's Facebook page. Some Facebook users stated that they had received their money back. Paterson and Fogarty stated that they only received half of their paycheque. Box Hub, the organisation that had rented the warehouse to House of Illuminati, issued an apology on House of Illuminati's behalf, stating that they "either have no regards for the families and young children they have disappointed or are too embarrassed to comment", and offered to provide a venue free of charge for those who attended the event. House of Illuminati later stated that they would not host any future events. Coull deleted his LinkedIn profile, his YouTube channel, and his personal website in response to the controversy. A few days after the event, Connell said he felt that Coull was "probably one of the most disliked people in Glasgow right now". In an interview with The Sunday Times, Coull apologised for how the event turned out, saying he would accept responsibility. == Fundraising == In an interview with Wired magazine, Connell stated that he and the other actors were working with parents to provide a free show for the children who attended. Some items from the event were later auctioned for charity. The venue auctioned the leftover hand-written "even