AI Writing Tools

Explore the best AI Writing Tools — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

  • Brownout (software engineering)

    Brownout (software engineering)

    Brownout in software engineering is a technique that involves disabling certain features of an application. == Description == Brownout is used to increase the robustness of an application to computing capacity shortage. If too many users are simultaneously accessing an application hosted online, the underlying computing infrastructure may become overloaded, rendering the application unresponsive. Users are likely to abandon the application and switch to competing alternatives, hence incurring long-term revenue loss. To better deal with such a situation, the application can be given brownout capabilities: The application will disable certain features – e.g., an online shop will no longer display recommendations of related products – to avoid overload. Although reducing features generally has a negative impact on the short-term revenue of the application owner, long-term revenue loss can be avoided. The technique is inspired by brownouts in power grids, which consists in reducing the power grid's voltage in case electricity demand exceeds production. Some consumers, such as incandescent light bulbs, will dim – hence originating the term – and draw less power, thus helping match demand with production. Similarly, a brownout application helps match its computing capacity requirements to what is available on the target infrastructure. Brownout complements elasticity. The former can help the application withstand short-term capacity shortage, but does so without changing the capacity available to the application. In contrast, elasticity consists of adding (or removing) capacity to the application, preferably in advance, so as to avoid capacity shortage altogether. The two techniques can be combined; e.g., brownout is triggered when the number of users increases unexpectedly until elasticity can be triggered, the latter usually requiring minutes to show an effect. Brownout is relatively non-intrusive for the developer, for example, it can be implemented as an advice in aspect-oriented programming. However, surrounding components, such as load-balancers, need to be made brownout-aware to distinguish between cases where an application is running normally and cases where the application maintains a low response time by triggering brownout. == Usage in phased deprecation == A related use of the brownout concept in software engineering is the deliberate introduction of temporary outages to a system, API or feature that is being phased out. This is sometimes also called a "scream test" when it is used to discover unknown dependents of a system or API. The intention is to allow detection of downstream consumers of an API or service who may otherwise have missed deprecation announcements or to uncover hidden side-effects of the deprecation that may have been overlooked. The intention is that developers of dependent systems will notice their own system failures caused by the upstream brownout. Such brownouts are typically pre-announced scheduled outages or probabilistic in nature (such as artificially failing a percentage of requests). As a brownout is only a temporary or partial outage, it provides downstream consumers of an API or service time to remove any discovered dependencies on the deprecated API before it is fully retired. For consumers that have already prepared for the deprecation, a brownout provides valuable testing that the final removal of the service won't cause any unexpected problems.

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  • Full Dive

    Full Dive

    Full Dive, short for Full Dive: This Ultimate Next-Gen Full Dive RPG Is Even Shittier than Real Life! (Japanese: 究極進化したフルダイブRPGが現実よりもクソゲーだったら, Hepburn: Kyūkyoku Shinka shita Furu Daibu RPG ga Genjitsu yori mo Kusogē Dattara), is a Japanese light novel series written by Light Tuchihi and illustrated by Youta. Media Factory has published four volumes since August 2020 under their MF Bunko J imprint. A manga adaptation with art by Kino was serialized in Media Factory's seinen manga magazine Monthly Comic Alive from January 2021 to January 2022. An anime television series adaptation by ENGI aired from April to June 2021. == Plot == Hiroshi Yuki, with the player name of Hiro, is a high school boy who loves to play virtual reality MMORPGs (VRMMORPG) in order to escape reality. When a game store manager named Reona Kisaragi tricks him into buying the game Kiwame Quest, he soon discovers that it is not what it seems. Unlike regular games, it is a game that tries to pursue realism to a fanatical point. As such, Hiroshi struggles to eke out a niche. Despite the disadvantages, he is determined to complete the game. == Characters == === Main characters === Hiroshi Yuki (結城宏, Yūki Hiroshi) Voiced by: Daiki Yamashita, Riho Sugiyama (young) (Japanese); Johnny Yong Bosch, Michele Knotz (young) (English) Hiroshi is a high school student who is tricked into buying Kiwame Quest by game store manager, Reona Kisaragi. He is a former member of the track team who quit following an unfortunate incident and he likes to play VRMMORPGs in order to escape reality. His player name is Hiro. Reona Kisaragi (如月玲於奈, Kisaragi Reona) Voiced by: Ayana Taketatsu (Japanese); Natalie Van Sistine (English) Reona is a game store manager who tricks Hiroshi into buying Kiwame Quest. She likes to tease him and her in-game avatar is that of a fairy. Alicia (アリシア, Arishia) Voiced by: Fairouz Ai (Japanese); Kayli Mills (English) Alicia is one of Hiroshi's childhood friends in Kiwame Quest. She has an older brother named Martin in-game. Mizarisa (ミザリサ) Voiced by: Shiori Izawa (Japanese); Sarah Anne Williams (English) Mizarisa is the town inquisitor in Kiwame Quest. Kaede Yuki (結城楓, Yūki Kaede) Voiced by: Aoi Koga (Japanese); Kate Bristol (English) Kaede is Hiroshi's younger sister. She used to look up to her older brother, but their relationship has been strained ever since he quit the track team. === NPCs === Martin (マーチン, Māchin) Voiced by: Haruki Ishiya, Natsumi Fujiwara (young) (Japanese); Ben Lepley, Krystal LaPorte (young) (English) Martin is one of Hiroshi's childhood friends in Kiwame Quest. He is also Alicia's older brother in-game. Tesla (テスラ, Tesura) Voiced by: Satoshi Hino (Japanese); Jason Liebrecht (English) Tesla is the captain of the City Guard in Kiwame Quest. Govern (ガバン, Gaban) Voiced by: Shizuka Itō (Japanese); Lisa Ortiz (English) Govern is the queen of Ted in Kiwame Quest. === Other characters === Ginji (ギンジ) Voiced by: Katsuyuki Konishi (Japanese); Brent Mukai (English) Ginji is a veteran player of Kiwame Quest. Soichiro Kamui (神居宗一郎, Kamui Sōichirō) Voiced by: Yoshitsugu Matsuoka (Japanese); Samuel Drake (English) Kamui is the only known player who has successfully completed Kiwame Quest. == Media == === Light novels === Light Tuchihi launched the light novel series, with illustrations by Youta, under Media Factory's MF Bunko J label on August 25, 2020. ==== Volumes ==== === Manga === A manga adaptation by Kino was serialized in Media Factory's Monthly Comic Alive magazine from January 27, 2021, to January 27, 2022. Two tankōbon volumes were released from May 21, 2021, to January 21, 2022. ==== Volumes ==== === Anime === An anime television series adaptation was announced on December 4, 2020. The series was animated by ENGI and directed by Kazuya Miura, with Kenta Ihara writing the series' scripts, and Yūta Kevin Kenmotsu designing the characters. It ran from April 7 to June 23, 2021, on AT-X, Tokyo MX, SUN, KBS Kyoto, and BS11. Mayu Maeshima performed the opening theme "Answer", while Ayana Taketatsu, Fairouz Ai, Shiori Izawa, and Aoi Koga performed the ending theme "Kisuida!". It ran for 12 episodes. Funimation licensed and streamed the series. On June 8, 2021, Funimation announced that the series would receive an English dub, which premiered the following day. Following Sony's acquisition of Crunchyroll, the series was moved to Crunchyroll. ==== Episodes ====

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  • Conceptual dependency theory

    Conceptual dependency theory

    Conceptual dependency theory is a model of natural language understanding used in artificial intelligence systems. Roger Schank at Stanford University introduced the model in 1969, in the early days of artificial intelligence. This model was extensively used by Schank's students at Yale University such as Robert Wilensky, Wendy Lehnert, and Janet Kolodner. Schank developed the model to represent knowledge for natural language input into computers. Partly influenced by the work of Sydney Lamb, his goal was to make the meaning independent of the words used in the input, i.e. two sentences identical in meaning would have a single representation. The system was also intended to draw logical inferences. The model uses the following basic representational tokens: real world objects, each with some attributes. real world actions, each with attributes times locations A set of conceptual transitions then act on this representation, e.g. an ATRANS is used to represent a transfer such as "give" or "take" while a PTRANS is used to act on locations such as "move" or "go". An MTRANS represents mental acts such as "tell", etc. A sentence such as "John gave a book to Mary" is then represented as the action of an ATRANS on two real world objects, John and Mary.

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  • It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year is an AI-generated television commercial created for McDonald's Netherlands by TBWA\Neboko and The Sweetshop. It was released on 6 December 2025 before being pulled four days later due to negative reception over its use of generative artificial intelligence and its cynical, negative depiction of the holiday season. == Plot == On a bleak, snowy day, various people in the city experience different kinds of mishaps during the Christmas season. Among other incidents, families struggle with their huge loads of presents; Santa Claus gets stuck in traffic; a Christmas tree "redecorates" a man's home, sending him through the window; another family puts up with annoying relatives and a burnt Christmas dinner. Because of all this chaos, a man decides to find refuge in a McDonald's outlet. A Christmas choir finishes singing the jingle "It's the Most Terrible Time of the Year" with the call to action to "hide out in McDonald's till January's here". == Campaign == It's the Most Terrible Time of the Year is a 45-second television commercial made by Dutch agency TBWA\Neboko with involvement of United States-based film production studio The Sweetshop. The advertisement was produced heavily with generative artificial intelligence (AI) following the trend set by other brands such as Coca-Cola and Toys "R" Us. McDonald's Netherlands, the client, released a statement that the commercial was meant to depict "the stressful moments during the holidays in the Netherlands". The commercial also used Andy Williams's "It's the Most Wonderful Time of the Year" with lyrics changed to fit with the concept of the advertisement. According to The Sweetshop, the production of the advertisement took "seven weeks". It also added that much effort was put into the commercial compared to the traditional process. Ten people of its in-house AI engine The Gardening Club worked on the project. Los Angeles-based directors Mark Potoka and Matt Spicer were initially credited to be involved in the film but they resigned due to being sidelined from the production process. == Reception == The advertisement was released on McDonald's Netherlands' YouTube channel on 6 December 2025. It had a negative reception over the use of generative AI and the "cynical" concept of the work's story. The video was made private on 9 December 2025. The Sweetshop stated that the production of the advertisement took human effort. McDonald's Netherlands, while stating the original intent of the commercial, released a statement after its pullout that, for many of its customers, the holiday season is the "most wonderful time of the year".

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  • Wide-column store

    Wide-column store

    A wide-column store (or extensible record store) is a type of NoSQL database. It uses tables, rows, and columns, but unlike a relational database, the names and format of the columns can vary from row to row in the same table. A wide-column store can be interpreted as a two-dimensional key–value store. Google's Bigtable is one of the prototypical examples of a wide-column store. == Wide-column stores versus columnar databases == Wide-column stores such as Bigtable and Apache Cassandra are not column stores in the original sense of the term, since their two-level structures do not use a columnar data layout. In genuine column stores, a columnar data layout is adopted such that each column is stored separately on disk. Wide-column stores do often support the notion of column families that are stored separately. However, each such column family typically contains multiple columns that are used together, similar to traditional relational database tables. Within a given column family, all data is stored in a row-by-row fashion, such that the columns for a given row are stored together, rather than each column being stored separately. Wide-column stores that support column families are also known as column family databases. == Notable examples == Notable wide-column stores include: Apache Accumulo Apache Cassandra Apache HBase Bigtable DataStax Enterprise (uses Apache Cassandra) DataStax Astra DB (uses Apache Cassandra) Hypertable Azure Tables ScyllaDB

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  • Fuzzy electronics

    Fuzzy electronics

    Fuzzy electronics is an electronic technology that uses fuzzy logic, instead of the two-state Boolean logic more commonly used in digital electronics. Fuzzy electronics is fuzzy logic implemented on dedicated hardware. This is to be compared with fuzzy logic implemented in software running on a conventional processor. Fuzzy electronics has a wide range of applications, including control systems and artificial intelligence. == History == The first fuzzy electronic circuit was built by Takeshi Yamakawa et al. in 1980 using discrete bipolar transistors. The first industrial fuzzy application was in a cement kiln in Denmark in 1982. The first VLSI fuzzy electronics was by Masaki Togai and Hiroyuki Watanabe in 1984. In 1987, Yamakawa built the first analog fuzzy controller. The first digital fuzzy processors came in 1988 by Togai (Russo, pp. 2–6). In the early 1990s, the first fuzzy logic chips were presented to the public. Two companies which are Omron and NEC have announced the development of dedicated fuzzy electronic hardware in the year 1991. Two years later, the Japanese Omron Cooperation has shown a working fuzzy chip during a technical fair.

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  • Privacy Lost

    Privacy Lost

    Privacy Lost is a 2023 short science fiction film directed by Peter Stoel and Robert Berger. It follows a family using augmented reality (AR) and artificial intelligence (AI) devices capable of reading emotional states, raising questions about privacy and manipulation. == Premise == Privacy Lost follows a family using AR glasses that capture and interpret emotions in real time. As the parents argue in a restaurant, their emotional states and even hidden feelings become visible through these glasses. An AI-driven waiter adapts its appearance for each family member, employing emotional data to influence their decisions. == Cast == Brian Kant as Waiter Michael Krass as Husband Estelle Levinson as Waitress Thor van der Linden as Scotty Carlijn van Ramshorst as Wife == Production == Filming took place at HeadQ Productions, a virtual studio located in Amsterdam. The creators sought to depict a near-future scenario in which real-time emotion analysis becomes part of daily interactions. The film was screened at the Augmented World Expo (AWE), where it was noted for its thematic focus on AI-driven manipulation and emotional tracking. The depiction of AR glasses and AI characters integrates modern visual effects to show how devices might analyze emotional responses in real time. It also depicts how AI-driven interactions could influence consumer decisions, pointing to concerns over potential misuse. == Themes == Privacy Lost focuses on the intersection of advanced AI capabilities and AR environments, showing how real-time emotional analysis can be leveraged for targeted persuasion. The film aims to highlight the social and ethical implications of emerging AR and AI technologies, underlining how establishing clear regulatory frameworks for them is necessary to protect individual privacy, govern the storage of emotion-based data, and prevent manipulative practices. Critics describe the film’s theme as dystopian and note that such a reality is unlikely to occur in the near future. However, despite the exaggerated scenario, the film emphasizes the importance of a responsible approach by developers toward emerging technologies.

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  • Dominic Harris

    Dominic Harris

    Dominic Harris (born 16 November 1976) is a British artist known for integrating modern technology and classical design in his interactive artworks. == Background == Dominic Harris was born in London on 16 November 1976, and grew up in London, Brussels, and Michigan before returning to London in 1995. Harris attended the Cranbrook Kingswood Upper School, and then trained as an architect at the Bartlett School of Architecture, and has been ARB registered since 2011. Harris designs and fabricates his artworks at Dominic Harris Studio, a multi-disciplinary practice he founded in 2007. This studio consists of 25 people with diverse backgrounds including architecture, product design, electronics, programming, graphic design, and workshop skills. Harris uses the resources of his studio for the ongoing development, prototyping and production of his artworks. Harris also oversees the studio's international projects where his fascinations are translated into larger scale projects that span residential, retail, and public art projects. In 2015, Harris was granted permission by the Walt Disney Company to use their Intellectual Property for the purpose of making new interactive artworks. Harris is the only artist to gain permission to use Disney's back catalogue of characters, and led him to creating his interactive versions of "Snow White and the Seven Dwarfs" and "Mickey and Minnie: An Interactive Diptych". Harris is fascinated by the idea of using data streams, algorithms, and computer code to generate dynamic and ever-changing artworks. He sees data as a raw material that can be transformed into visual poetry. Many of his installations and sculptures are interactive, responding to the presence and movement of viewers/participants. This creates an immersive experience where the observer becomes part of the artwork itself. Harris is also the founding partner of a sister studio in London called Cinimod Studio that creates large commissioned installations, interactive events and lighting designs for large brands. == Works == == Exhibitions == The works of Dominic Harris have been exhibited internationally, both through direct and gallery representation. Solo shows: "Feeding Consciousness" at Halcyon Gallery, Mayfair, London, UK – 2023 "US: NOW" at Halcyon Gallery, Mayfair, London, UK – 2020 "Imagine" at Halcyon Gallery, Mayfair, London, UK – 2019 "5 Year Celebration", Priveekollektie Contemporary Art | Design, London, UK – 2016. "Moments of Reflection" at PHOS ART + DESIGN, Mayfair, London, UK – 2015 Recent exhibitions include: In Plain Sight, 2024 Halcyon Gallery Victoria & Albert Museum Dublin Science Museum Design Miami / Basel Design Miami Art Miami Art 14, London PAD Paris PAD London Art Geneva == Gallery Representation == 2010 to 2019: Dominic Harris was represented by Priveekollektie Contemporary Art | Design, a Dutch gallery based in Heusden, the Netherlands, and with a regular presence on the international art and design circuits. 2015: Dominic Harris was shown with PHOS ART + DESIGN Gallery, in Mayfair, London, UK. 2019 – ongoing: Dominic Harris is exclusively represented by the Halcyon Gallery, an established international gallery based in Mayfair, London. == Collections == The majority of Harris's work has been bought by private collectors. Since 2012 Harris's work is also being acquired by several large institutional collections, including the Borusan Contemporary Art Collection in Istanbul. Harris's artworks include some of the biggest and most respected international art collectors and are also displayed in public spaces. == Books == Dominic Harris: Feeding Consciousness. Halcyon Gallery, 2023. Imagine: Dominic Harris (exhibition catalogue). Halcyon Gallery, 2019. A Touch Of Code: Documents the "Beacon" art installation and "Flutter" artwork (ISBN 978-3899553314) Dominic Harris, Artworks, Edition Eight. (ISBN 978-0957306325) Digital Real: Kunst & Nachhaltigkeit Vol 8.

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  • Zolostays

    Zolostays

    Zolostays is a real-tech co-living focused startup that provides ready-to-move rooms/beds. It was founded in 2015 by Nikhil Sikri, Akhil Sikri and Sneha Choudhry. == Overview == During the pandemic, Zolo provided 75 of rent-free accommodation to those who lost their jobs. Zolo uses bulk inventory in usually residential township and ties up with real estate companies to make the rooms/beds available. Zolostays has both revenue sharing and leased model. == History == Zolostays was founded in 2015 to solve the problem of students and young professionals who would move to temporarily go to other cities to study and work and look for affordable housing. In 2020, it was operating in 10 Indian cities. It has four round of funding, with total $98 million.

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  • The Future of Truth (Rosenbaum book)

    The Future of Truth (Rosenbaum book)

    The Future of Truth: How AI Reshapes Reality is a 2026 book by American filmmaker and author Steven Rosenbaum about how artificial intelligence affects the concept of truth. It was published by Matt Holt Books on May 12, 2026, to positive media attention; on May 19, in response to an inquiry from The New York Times, Rosenbaum acknowledged that the book itself contains multiple misattributed or false quotes that were hallucinated by AIs. == Synopsis == == Development == Rosenbaum has said that he developed the book using AI chatbots as research tools, indicating in his notes what information came from AI and sending those claims to a fact-checker affiliated with the publisher. He has said that he did not use AI tools to write the book itself. He has described AI tools as "a delightful writing companion ... strangely creative and crafty and unusual in all these ways", while acknowledging that sometimes "then it betrays you in ways that are just really quite horrible". Journalist and Nobel laureate Maria Ressa wrote the book's foreword. Taylor Lorenz, Michael Wolff, and Nicholas Thompson wrote blurbs promoting it. == Release and reception == The Future of Truth was published by Matt Holt Books, an imprint of BenBella Books, and distributed by Simon & Schuster. The book's release on May 12, 2026, was described by Futurism as "buzzy" and by The New York Times as "to great fanfare". On May 14, an excerpt was published in Wired under the title "Gen Z Is Pioneering a New Understanding of Truth". On May 17, the Times contacted Rosenbaum regarding a number of quotes that appeared to be falsified or misattributed; the following evening he confirmed that they were the result of AI hallucinations:As I disclosed in the book's acknowledgments, I used AI tools ChatGPT and Claude during the research, writing and editing process. That does not excuse these errors, of which I take full responsibility. I am now working with the editors to thoroughly review and quickly correct any affected passages; any future editions will be corrected. The Times documented several of the errors, including a quote from Kara Swisher that Swisher described as making it "sound like I have a stick up my butt" and a quote from Lisa Feldman Barrett that Barrett described as misrepresenting her views on the nature of emotions, social signals, and truth. The book also misattributed a quote by Meredith Broussard from an interview with Marketplace Tech as having been from her book Artificial Unintelligence and hallucinated several words in a quote from Lee McIntyre, although according to McIntyre it did not misrepresent his views. Wired's editors, in an addendum to the excerpt they published, said that all quotes included in it had been verified as part of their fact-checking process. Rosenbaum told the Times that the series of errors "serves as a warning about the risks of AI-assisted research and verification, that is why I wrote the book. These AI errors do not, in fact, diminish the larger questions that the book raises about truth, trust and AI and its impact on society, democracy and editorial." Maggie Harrison Dupré in Futurism expressed skepticism, writing "The risk of AI hallucinations ... is well-known. If you're going to literally write the book on post-AI truth, you should probably put some more elbow grease into fact-checking your AI-assisted research." Kyle Orland in Ars Technica, responding to Rosenbaum's statement that his error "demonstrates the problem more vividly than any abstract argument could", was similarly skeptical, writing that "if we accept this take, every avoidably obvious mess in the world might be a disguised good because it really helps illuminate the huge mistake. And that can't be right; sometimes 'negligence' is just that." Subsequent comments by Rosenbaum placed more blame on the chatbots, which he told The Atlantic "fucked up the book". Rosenbaum told Ars Technica that fact-checking occurred "incredibly effectively, but not a hundred percent"; Orland observed that "it's worth noting that most writers manage to include zero made-up quotes when they write a book". Rosenbaum said that he had "learned a lesson" and would be "much more suspicious" of AI in the future, but would continue to use AI in his research. Orland responded to Rosenbaum's characterization of AI as "magical" by comparing it to the One Ring from The Lord of the Rings, in that it "convinces many of those who use it that they can control its power properly" when many cannot. Orland highlighted the limits of traditional fact-checking regarding AI, given that fact-checkers are used to assuming that direct quotes are copied word-for-word from the source. Rosenbaum told Orland that the future of fact-checking for AI-researched works "probably includes mandatory source tracing for quotations, better provenance tracking, clearer standards around AI-assisted research, and potentially (more irony here) AI tools that audit citations against primary materials". Patrick Redford in Defector criticized Rosenbaum, alongside other artists tricked by AI, for failing to recognize AI as "the enemy". Will Oremus in The Atlantic described Redford's approach of stigmatizing AI writing as "reasonable", noting the presence of low-quality, seemingly AI-generated verbiage in The Future of Truth—a claim denied by Rosenbaum—before saying that the greater issue is finding the line at which AI assistance in writing becomes a problem. Oremus concluded, "The scandal can't just be that [Rosenbaum] used AI while working on his book, because he acknowledged that up front. He got in trouble because he had used AI badly, failing to check its work on a task at which it is famously unreliable."

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  • Pop music automation

    Pop music automation

    Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles

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  • Transhuman Space

    Transhuman Space

    Transhuman Space (THS) is a role-playing game by David Pulver, published by Steve Jackson Games as part of the "Powered by GURPS" (Generic Universal Role-Playing System) line. Set in the year 2100, humanity has begun to colonize the Solar System. The pursuit of transhumanism is now in full swing, as more and more people reach fully posthuman states. In 2002, the Transhuman Space adventure "Orbital Decay" received an Origins Award nomination for Best Role-Playing Game Adventure. Transhuman Space won the 2003 Grog d'Or Award for Best Role-playing Game, Game Line or RPG Setting. == Setting == The game assumes that no cataclysm — natural or human-induced — swept Earth in the 21st century. Instead, constant developments in information technology, genetic engineering, nanotechnology and nuclear physics generally improved condition of the average human life. Plagues of the 20th century (like cancer or AIDS) have been suppressed, the ozone layer is being restored and Earth's ecosystems are recovering (although thermal emission by fusion power plants poses an environmental threat—albeit a much lesser one than previous sources of energy). Thanks to modern medicine humans live biblical timespans surrounded by various artificially intelligent helper applications and robots (cybershells), sensory experience broadcasts (future TV) and cyberspace telepresence. Thanks to cheap and clean fusion energy humanity has power to fuel all these wonders, restore and transform its home planet and finally settle on other heavenly bodies. Human genetic engineering has advanced to the point that anyone—single individuals, same-sex couples, groups of three or more—can reproduce. The embryos can be allowed to be developed naturally, or they can undergo three levels of tinkering: 1. Genefixing, which corrects defects; 2. Upgrades, which boost natural abilities (Ishtar Upgrades are slightly more attractive than usual, Metanoia Upgrades are more intelligent, etc.); and... 3. Full transition to parahuman status (Nyx Parahumans only need a few hours of sleep per week, Aquamorphs can live underwater, etc.) Another type of human genetic engineering, far more controversial, is the creation of bioroids, fully sentient slave races. People can "upload" by recording the simulation of their brains on computer disks. The emulated individual then becomes a ghost, an infomorph very easily confused with "sapient artificial intelligence". However, this technology has several problems as the solely available "brainpeeling" technique is fatal to the original biological lifeform being simulated, has a significant failure rate and the philosophical questions regarding personal identity remain equivocal. Any infomorph, regardless of its origin, can be plugged into a "cybershell" (robotic or cybernetic body), or a biological body, or "bioshell". Or, the individual can illegally make multiple "xoxes", or copies of themselves, and scatter them throughout the system, exponentially increasing the odds that at least one of them will live for centuries more, if not forever. This is also a time of space colonization. First, humanity (specifically China, followed by the United States and others) colonized Mars in a fashion resembling that outlined in the Mars Direct project. The Moon, Lagrangian points, inner planets and asteroids soon followed. In the late 21st century even some of Saturn's moons have been settled as a base for that planet's Helium-3 scooping operations. Transhuman Space's setting is neither utopia nor dystopia, however: several problems have arisen from these otherwise beneficial developments. The generation gap has become a chasm as lifespans increase. No longer do the elite fear death, and no longer can the young hope to replace them. While it seemed that outworld colonies would offer accommodation and work for those young ones, they are being replaced by genetically tailored bioroids and AI-powered cybershells. The concept of humanity is no longer clear in a world where even some animals speak of their rights and the dead haunt both cyberspace and reality (in form of infomorph-controlled bioshells or cybershells). And the wonders of high science are not universally shared — some countries merely struggle with informatization while others suffer from nanoplagues, defective drugs, implants and software tested on their populace. In some poor countries high-tech tyrants oppress their backward people. And in outer space all sort of modern crime thrives, barely suppressed by military forces. == Publication history == After the initial set of GURPS books that were published using the GURPS Lite, later publications such as Transhuman Space by David Pulver were labelled simply "Powered by GURPS" without using the name "GURPS" in the book title. Transhuman Space received a significant amount of supporting publications, and was the largest original background setting that Steve Jackson Games produced in 15 years. Shannon Appelcline noted that by its inclusion of posthuman characters, the book began to show the limits of the GURPS system as it was, which is something that Pulver would address soon thereafter. Steve Jackson Games has not updated the core book (GURPS Transhuman Space) to 4th edition, although the supplement Transhuman Space: Changing Times provides a path for migrating to 4th edition. It has produced several 4th edition supplements for the setting: Transhuman Space: Bioroid Bazaar, Transhuman Space: Cities on the Edge, Transhuman Space: Martial Arts 2100, Transhuman Space: Personnel Files 2-5, Transhuman Space: Shell-Tech, GURPS Spaceships 8: Transhuman Spacecraft, Transhuman Space: Transhuman Mysteries, and Transhuman Space: Wings of the Rising Sun. == Reception == In a review of Transhuman Space in Black Gate, William Stoddard said "Transhuman Space was a richly detailed setting; if it had imperfections, it had enough depth to make up for them. I think it has the potential to become a classic in its field. Perhaps a campaign set in its default start year of 2100 could leave the early twenty-first century blurry enough to avoid obvious incongruities." == Reviews == Review in Vol. 20, No. 1 of Prometheus, the journal of the Libertarian Futurist Society.

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  • Fluency Voice Technology

    Fluency Voice Technology

    Fluency Voice Technology was a company that developed and sold packaged speech recognition solutions for use in call centers. Fluency's Speech Recognition solutions are used by call centers worldwide to improve customer service and significantly reduce costs and are available on-premises and hosted. == History == 1998 – Fluency was created as a spin-off from the Voice Research & Development team of a company called netdecisions. This R&D operation was established in Cambridge UK. The focus of the development was speech recognition systems based on the VXML standard. 2001 – Fluency became a separate entity in May 2001. Fluency began the creation of a software development platform specifically aimed at automating call center activities. This platform became Fluency's VoiceRunner. 2002 to 2004 – Fluency establishes accomplishes many successful deployments in customer sites such as National Express and Barclaycard. 2003 – Fluency expanded into the USA. Fluency also acquires Vocalis of Cambridge, UK in August 2003. 2004 – Fluency receives £6 million investment from leading European Venture Capitalists and establishes a global OEM partnership with Avaya, and the acquisition of SRC Telecom. 2008 – Fluency is acquired by Syntellect Ltd == Customers == Call Centers around the world use Fluency to improve service and reduce costs. They include Travelodge, Standard Life Bank, Sutton and East Surrey Water, Pizza Hut, CWT, Barclays, Powergen, First Choice, OutRight, J D Williams, Capital Blue Cross, Chelsea Building Society, EDF, bss, TV Licensing and Capita Software Services.

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  • The Fractal Prince

    The Fractal Prince

    The Fractal Prince is the second science fiction novel by Hannu Rajaniemi and the second novel to feature the post-human gentleman thief Jean le Flambeur. It was published in Britain by Gollancz in September 2012, and by Tor in the same year in the US. The novel is the second in the trilogy, following The Quantum Thief (2010) and preceding The Causal Angel (2014). == Plot summary == After the events of The Quantum Thief, Jean le Flambeur and Mieli are on their way to Earth. Jean is trying to open the Schrödinger's Box he retrieved from the memory palace on the Oubliette. After making little progress, he is prodded by the ship Perhonen to talk to Mieli, who turns out to be possessed by the pellegrini again. This time, Jean identifies Mieli's employer as a Sobornost Founder, Joséphine Pellegrini, and gets her to reveal how he got captured, thereby picking up the clues to make plans for his next heist. No sooner is that done than an attack comes from the Hunter. The ship and crew barely survived that, and Jean realizes that he has to find a better way to open the Box - fast. Mieli has been very quiet after they left Mars. She has given up almost everything to the pellegrini, even her identity, as she has promised to let the pellegrini make gogols of her in exchange for rescuing the thief. Yet, having to work with the thief is testing her, especially when the thief eventually does something even more unforgivable than stealing Sydän's jewel from her. In the city of Sirr, on an Earth ravaged by wildcode, Tawaddud and Dunyazad are sisters and members of the powerful Gomelez family. Tawaddud is the black sheep of the family, having run away from her husband and consorted with a notorious jinn, a disembodied intelligence from the wildcode desert. Now Cassar Gomelez, her father, hopes to get her to curry favor with a gogol merchant, Abu Nuwas, so that he has enough votes in the Council for the upcoming decision to renegotiate the Cry of Wrath Accords with the Sobornost. Soon, Tawaddud is embroiled in an investigation with a Sobornost envoy into the murder that triggered the need for her father to forge a new alliance in the first place, and forced to confront old secrets that will change Sirr forever. Somewhere else, in a bookshop and on a beach, a young boy is at play. His mother has told him not to talk to strangers, but there has never been anyone here before. Until now. Should he talk to them? == Influences == In the acknowledgments, Rajaniemi cites the influence of "Andy Clark, Douglas Hofstadter, Maurice Leblanc, Jan Potocki and [...] The Arabian Nights." === Self-loops === In the novel, the idea that the mind is a self-loop may have been influenced by the theories of the Professor of Philosophy, Andy Clark, and the book I Am a Strange Loop by Douglas Hofstadter. === Frame stories === The novel uses frame stories rather extensively, a feature also of The Arabian Nights and Jan Potocki's The Manuscript Found in Saragossa. Several characters in Sirr are the namesakes of characters in these two earlier works as well. The events in The Quantum Thief are also retold at least once by Jean le Flambeur in the course of the events in this novel. == Reception == The novel has received generally positive reviews. However, criticisms of the novel still revolve around Rajaniemi's uncompromising "show, don't tell" style. For example, Amy Goldschlager, writing for the Los Angeles Review of Books, suggested that "[a] bit more explication of the physics involved (“surfing the deficit angle”?) would really be helpful, more helpful than the description of the Schrödinger’s Cat problem given earlier in the book".

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  • Stable Diffusion

    Stable Diffusion

    Stable Diffusion is a deep learning, text-to-image model released in 2022 based on diffusion techniques. The generative artificial intelligence technology is the premier product of Stability AI and is considered to be a part of the ongoing AI boom. It is primarily used to generate detailed images conditioned on text descriptions, though it can also be applied to other tasks such as inpainting, outpainting, and generating image-to-image translations guided by a text prompt. Its development involved researchers from the CompVis Group at LMU Munich and Runway with a computational donation from Stability and training data from non-profit organizations. Stable Diffusion is a latent diffusion model, a kind of deep generative artificial neural network. Its code and model weights have been released publicly, and an optimized version can run on most consumer hardware equipped with a modest GPU with as little as 2.4 GB VRAM. This marked a departure from previous proprietary text-to-image models such as DALL-E and Midjourney which were accessible only via cloud services. == Development == Stable Diffusion originated from a project called Latent Diffusion, developed in Germany by researchers at LMU Munich in Munich and Heidelberg University. Four of the original 5 authors (Robin Rombach, Andreas Blattmann, Patrick Esser and Dominik Lorenz) later joined Stability AI and released subsequent versions of Stable Diffusion. The technical license for the model was released by the CompVis group at LMU Munich. Development was led by Patrick Esser of Runway and Robin Rombach of CompVis, who were among the researchers who had earlier invented the latent diffusion model architecture used by Stable Diffusion. Stability AI also credited EleutherAI and LAION (a German nonprofit which assembled the dataset on which Stable Diffusion was trained) as supporters of the project. == Technology == === Architecture === Diffusion models, introduced in 2015, are trained with the objective of removing successive applications of Gaussian noise on training images, which can be thought of as a sequence of denoising autoencoders. The name diffusion is from the thermodynamic diffusion, since they were first developed with inspiration from thermodynamics. Models in Stable Diffusion series before SD 3 all used a variant of diffusion models, called latent diffusion model (LDM), developed in 2021 by the CompVis (Computer Vision & Learning) group at LMU Munich. Stable Diffusion consists of 3 parts: the variational autoencoder (VAE), U-Net, and an optional text encoder. The VAE encoder compresses the image from pixel space to a smaller dimensional latent space, capturing a more fundamental semantic meaning of the image. Gaussian noise is iteratively applied to the compressed latent representation during forward diffusion. The U-Net block, composed of a ResNet backbone, denoises the output from forward diffusion backwards to obtain a latent representation. Finally, the VAE decoder generates the final image by converting the representation back into pixel space. The denoising step can be flexibly conditioned on a string of text, an image, or another modality. The encoded conditioning data is exposed to denoising U-Nets via a cross-attention mechanism. For conditioning on text, the fixed, pretrained CLIP ViT-L/14 text encoder is used to transform text prompts to an embedding space. Researchers point to increased computational efficiency for training and generation as an advantage of LDMs. With 860 million parameters in the U-Net and 123 million in the text encoder, Stable Diffusion is considered relatively lightweight by 2022 standards, and unlike other diffusion models, it can run on consumer GPUs, and even CPU-only if using the OpenVINO version of Stable Diffusion. ==== SD XL ==== The XL version uses the same LDM architecture as previous versions, except larger: larger UNet backbone, larger cross-attention context, two text encoders instead of one, and trained on multiple aspect ratios (not just the square aspect ratio like previous versions). The SD XL Refiner, released at the same time, has the same architecture as SD XL, but it was trained for adding fine details to preexisting images via text-conditional img2img. ==== SD 3.0 ==== The 3.0 version completely changes the backbone. Not a UNet, but a Rectified Flow Transformer, which implements the rectified flow method with a Transformer. The Transformer architecture used for SD 3.0 has three "tracks", for original text encoding, transformed text encoding, and image encoding (in latent space). The transformed text encoding and image encoding are mixed during each transformer block. The architecture is named "multimodal diffusion transformer (MMDiT), where the "multimodal" means that it mixes text and image encodings inside its operations. This differs from previous versions of DiT, where the text encoding affects the image encoding, but not vice versa. === Training data === Stable Diffusion was trained on pairs of images and captions taken from LAION-5B, a publicly available dataset derived from Common Crawl data scraped from the web, where 5 billion image-text pairs were classified based on language and filtered into separate datasets by resolution, a predicted likelihood of containing a watermark, and predicted "aesthetic" score (e.g. subjective visual quality). The dataset was created by LAION, a German non-profit which receives funding from Stability AI. The Stable Diffusion model was trained on three subsets of LAION-5B: laion2B-en, laion-high-resolution, and laion-aesthetics v2 5+. A third-party analysis of the model's training data identified that out of a smaller subset of 12 million images taken from the original wider dataset used, approximately 47% of the sample size of images came from 100 different domains, with Pinterest taking up 8.5% of the subset, followed by websites such as WordPress, Blogspot, Flickr, DeviantArt and Wikimedia Commons. An investigation by Bayerischer Rundfunk showed that LAION's datasets, hosted on Hugging Face, contain large amounts of private and sensitive data. === Training procedures === The model was initially trained on the laion2B-en and laion-high-resolution subsets, with the last few rounds of training done on LAION-Aesthetics v2 5+, a subset of 600 million captioned images which the LAION-Aesthetics Predictor V2 predicted that humans would, on average, give a score of at least 5 out of 10 when asked to rate how much they liked them. The LAION-Aesthetics v2 5+ subset also excluded low-resolution images and images which LAION-5B-WatermarkDetection identified as carrying a watermark with greater than 80% probability. Final rounds of training additionally dropped 10% of text conditioning to improve Classifier-Free Diffusion Guidance. The model was trained using 256 Nvidia A100 GPUs on Amazon Web Services for a total of 150,000 GPU-hours, at a cost of $600,000. === Limitations === Stable Diffusion has issues with degradation and inaccuracies in certain scenarios. Initial releases of the model were trained on a dataset that consists of 512×512 resolution images, meaning that the quality of generated images noticeably degrades when user specifications deviate from its "expected" 512×512 resolution; the version 2.0 update of the Stable Diffusion model later introduced the ability to natively generate images at 768×768 resolution. Another challenge is in generating human limbs due to poor data quality of limbs in the LAION database. The model is insufficiently trained to replicate human limbs and faces due to the lack of representative features in the database, and prompting the model to generate images of such type can confound the model. In addition to human limbs, Stable Diffusion is unable to generate legible ambigrams and some other forms of text and typography. Stable Diffusion XL (SDXL) version 1.0, released in July 2023, introduced native 1024x1024 resolution and improved generation for limbs and text. Accessibility for individual developers can also be a problem. In order to customize the model for new use cases that are not included in the dataset, such as generating anime characters ("waifu diffusion"), new data and further training are required. Fine-tuned adaptations of Stable Diffusion created through additional retraining have been used for a variety of different use-cases, from medical imaging to algorithmically generated music. However, this fine-tuning process is sensitive to the quality of new data; low resolution images or different resolutions from the original data can not only fail to learn the new task but degrade the overall performance of the model. Even when the model is additionally trained on high quality images, it is difficult for individuals to run models in consumer electronics. For example, the training process for waifu-diffusion requires a minimum 30 GB of VRAM, which exceeds the usual resource provided in such consumer GPUs as Nvidia's GeForce 30 series, w

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