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  Scan line

  A scan line (also scanline) is one line, or row, in a raster scanning pattern, such as a line of video on a cathode-ray tube (CRT) display of a television set or computer monitor. On CRT screens the horizontal scan lines are visually discernible, even when viewed from a distance, as alternating colored lines and black lines, especially when a progressive scan signal with below maximum vertical resolution is displayed. This is sometimes used today as a visual effect in computer graphics. The term is used, by analogy, for a single row of pixels in a raster graphics image. Scan lines are important in representations of image data, because many image file formats have special rules for data at the end of a scan line. For example, there may be a rule that each scan line starts on a particular boundary (such as a byte or word; see for example BMP file format). This means that even otherwise compatible raster data may need to be analyzed at the level of scan lines in order to convert between formats.

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  Torment: Tides of Numenera

  Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed

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  Wonder.land

  Wonder.land (stylised as wonder.land) is a musical with music by Damon Albarn and lyrics and book by Moira Buffini. Inspired by Lewis Carroll's novels Alice's Adventures in Wonderland (1865) and Through the Looking-Glass (1871), it had its world premiere at the Palace Theatre in Manchester in July 2015 as part of the Manchester International Festival. The musical moved to London's Royal National Theatre in November 2015 before opening at the Théâtre du Châtelet in Paris in 2016. Licencing for potential future smaller scale productions is held by United Agents UK. == Background == The musical is inspired by the novels Alice in Wonderland and Through the Looking-Glass, written by Lewis Carroll. It was announced on 21 January 2015 that the show would premiere in July of that year as part of the Manchester International Festival, with tickets going on sale the following day. The musical, a co-production by the Manchester International Festival, the Royal National Theatre and the Théâtre du Châtelet in Paris, marks the 150th anniversary of the publication of Alice's Adventures in Wonderland. The idea for a musical based on Alice in Wonderland came from Manchester International Festival artistic director Alex Poots. Damon Albarn had collaborated with the festival on Monkey: Journey to the West and Dr Dee. The musical has a book by Moira Buffini. It was directed by Rufus Norris, with set design by Rae Smith, costume design by Katrina Lindsay, lighting design by Paule Constable, projections by 59 Productions and choreography by Javier De Frutos. The musical's score was composed by Damon Albarn, with lyrics by Moira Buffini, sound design by Paul Arditti and musical direction by David Shrubsole. == Production history == The musical began previews at the Palace Theatre in Manchester on 29 June 2015. It opened on 2 July for a limited run until 12 July. A revised version moved to the Royal National Theatre, where it ran at the Olivier Theatre from 27 November 2015 to 30 April 2016. The production had a limited run, from 7 to 16 June 2016, at the Theatre Du Chatelet in Paris. == Synopsis == This synopsis is based on the final version, as seen at the National Theatre and the Théâtre du Châtelet. Earlier performances significantly differed in songs and plot. === Act 1 === AI, the MC, explains that virtual technology is "a portal to boundless lands" ("Prologue"). Aly's mother, Bianca, is exasperated with her for spending the weekend indoors on her phone. Aly accompanies Bianca to the supermarket, and thinks that her life is being ruined by her parents due to dysfunctional problems ("Who's Ruining Your Life?") Her alcoholic father, Matt, is also at the supermarket; he and Bianca argue about their divorce and his gambling. Aly goes home and picks up her phone. She tries to engage with schoolmates, who bully her ("Network"). Aly begins to wish that she is someone else. She finds the virtual online game Wonder.land. In its strange world, Aly creates an avatar: beautiful, kind Alice ("Wonder.land"). Wonder.land has one rule: malice causes deletion from the game. Aly and Alice become friends and encounter the Cheshire Cat, who explains that you can be anyone you want ("Fabulous"). Aly decides to go on a quest; Alice follows the white rabbit down a hole, falling past unusual objects and musical notes ("Falling"). The next morning, Aly is too distracted by Wonder.land to listen to Bianca's complaints about her baby brother Charlie. She plays the game at school before her phone is confiscated by stern headmistress Ms Manxome, who tells her students that taking pleasures from them is for their own good ("I'm Right"). Aly goes to Ms Manxome's office to retrieve her phone. Ms Manxome returns it, warning that if she catches her with it again, "it's a beheading – I mean, detention." Aly sees the girls who bullied her, and they bully her again until a teacher arrives. Aly's friend, Luke, is late and is given detention. Aly goes on her phone and takes out her frustration and sadness on Alice, whose tears form a pool until she is interrupted by the quarrelsome twins Dum and Dee ("Freaks"). Alice tries to befriend them, but they insult her and Aly makes her fight them. Dum and Dee cry, and Aly and Alice see a large mouse who is attracted by Alice's fighting. They are joined by the Dodo, the Mock Turtle and Humpty, who all have problems. The Dodo is stressed because his parents want him to save the planet; Dum and Dee are dancers who hate pressure; Humpty has problems with her parents; the Mock Turtle lacks self-esteem, and the mouse is lustful. Wonderland is a hiding place from teenage life ("Crap Life"). Aly returns to reality when asked a math question she cannot answer. Confronting the three bullies, Aly mocks the facial hair of one and hides in the bathroom. She again immerses herself in Wonder.land, where Alice meets a Caterpillar who is obsessed with identity ("Who are You?"). Aly is interrupted by the girls, who ridicule her father's gambling addiction and poverty before beating her up. Aly seeks understanding from Alice, who tries to get Aly to tell her what is wrong. Aly tells Alice about her family and how she hates her life, and is surprised that Alice has similar problems ("Secrets"). Luke comes into the girls' bathroom because Kieran has threatened him with violence, and hides in a cubicle when Kieran enters. Aly defends Luke, and makes Kieran leave. Luke reveals that the reason Kieran hates him is because, like himself, he is gay. Aly is amazed, and they skip class and play games on their phones. Luke plays Zombie Swarm, and Aly plays Wonder.land. Ms Manxome enters the bathroom; Luke hides his phone, but Aly does not. Ms Manxome confiscates the phone for three months, and Aly and Luke leave. Ms Manxome finds that Aly did not lock her phone, and Alice is calling her. Ms Manxome begins to talk to her, and Alice thinks she is talking to Aly. Aly complains to Luke about her phone being taken away. Matt then takes them out for tea to celebrate his new job at the local garden centre ("In Clover"). At the tea shop, Matt maniacally dances on the tables and plays with spoons; asked to stop, he punches a waiter. Bianca arrives, and they argue again. Aly begins to notice that Wonder.land is invading reality; the MC emerges from a gigantic teapot, and the landscape outside becomes surreal ("Chances"). === Act 2 === Ms Manxome manipulates Alice around Wonder.land on Aly's phone, buys many things, and makes Alice's hair red ("Entre Act"). She tells Alice about her plans to dominate and destroy the online world, and Alice thinks she is talking to Aly ("Me"). Aly, Matt, Bianca, and Charlie are at the police station. PC Rook unsuccessfully tries to get Matt to make a statement (since he is charged with assault and affray), but Matt and Bianca argue again. Aly laments the loss of her family's unity ("Heartless Useless"). In Wonder.land, Ms Manxome is hostile when she meets Dum and Dee, the Mock Turtle, the Dodo, Humpty and the Mouse. She makes Alice chase them away, but Alice and Ms Manxome are driven away by Alice's friends, who are worried about the change in her ("Me (Reprise)"). Bianca learns that Aly missed a detention and had her phone confiscated. Concerned that she is losing Aly to technology, she bans her from the internet ("Gadget"). Charlie vomits, and Aly is left to clean it up. She looks for an internet cafe to go to Wonder.land, the only place she is truly happy ("Everyone Loves Charlie"). At the cafe, Aly cannot log into Wonder.land and her avatar seems to be in use. She sees Alice receive a Vorpal sword, bought by Ms Manxome with the money on Aly's phone. Alice is no longer Alice but the Red Queen, and Ms Manxome tells her to kill her friends. Alice, knowing the person controlling her is not Aly, cannot rebel; she lashes out at her friends, bullying and trying to hurt them. The MC warns that Alice has a deletion warning – any more malice, and she will be deleted. Aly now knows that Ms Manxome controls her phone and avatar ("O Children"). Aly enlists Luke to help and decides to break into Ms. Manxome's office to retrieve the phone. Luke agrees to meet her at the school gates. Matt and Bianca wonder if they should reconcile ("Man of Broken Glass"). At the school, Luke is reluctant to get involved; Aly decides to break into the office anyway. Luke contacts the girls who bullied Aly and tells them about Ms Manxome playing on Aly's stolen phone. They decide to spread the word that it is not Aly ("Fabulous (Reprise)"). Bianca goes to the police because Aly is missing, and gives her phone to Matt. Aly is likely to also be in Wonder.land. The avatars prepare for war against Alice but disagree about a strategy. At the police station, Matt hacks into Wonder.land sees Alice, and realizes that she is controlled by someone other than Aly. The White Rabbit appears (delighting Alice), but Ms Manxome makes Alice push him aside. The borderline between Wonder.land and

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  A Fire Upon the Deep

  A Fire Upon the Deep is a 1992 science fiction novel by American writer Vernor Vinge. It is a space opera involving superhuman intelligences, aliens, variable physics, space battles, love, betrayal, genocide, and a communication medium resembling Usenet. A Fire Upon the Deep won the Hugo Award in 1993, sharing it with Doomsday Book by Connie Willis. Besides the normal print book editions, the novel was also included on a CD-ROM sold by ClariNet Communications along with the other nominees for the 1993 Hugo awards. The CD-ROM edition included numerous annotations by Vinge on his thoughts and intentions about different parts of the book, and was later released as a standalone e-book. It has a loose prequel, A Deepness in the Sky, from 1999, and a direct sequel, The Children of the Sky, from 2012. == Setting == The novel is set in various locations within the Milky Way. The galaxy is divided into four concentric volumes called the "Zones of Thought"; it is not clear to the novel's characters whether this is a natural phenomenon or an artificially created one. Each Zone has fundamental differences in basic physical laws. One of the main consequences of these differences is the effect on intelligence. Artificial intelligence and automation is most directly affected, in that advanced hardware and software from the Beyond or the Transcend will work less and less well as a ship descends towards the Unthinking Depths. Biological intelligence is affected to a lesser degree. The four zones are spoken of in terms of "low" to "high" as follows: The Unthinking Depths are the innermost zone, surrounding the Galactic Center. In it, only minimal forms of intelligence, biological or otherwise, are possible. This means that any ship straying into the Depths will be stranded, effectively permanently. Even if the crew did not die immediately—and some forms of life native to "higher" Zones would likely do so—they would be rendered incapable of even human intelligence, leaving them unable to operate their ship in any meaningful way. Surrounding the Depths is the Slow Zone or Slowness. "Old Earth" is in this Zone, although Earth plays no significant role in the story. Biological intelligence is possible in "the Slowness", but not true, sentient, artificial intelligence. Faster than light travel (FTL) is impossible in the Slow Zone. Faster-than-light communication is impossible into or out of the Slow Zone. As the boundaries of the Zones are subject to change, accidental entry into the Slow Zone is a major hazard at the "Bottom" of the Beyond. Starships which operate near the Beyond/Slow Zone border often have an auxiliary Bussard ramjet drive, so that if they accidentally stray into the Slow Zone, they will at least have a backup (sub-light) drive to try to reach the Beyond. Such ships also tend to include "coldsleep" equipment, as it is likely that any such return will still take many lifetimes for most species. The next layer outward is the Beyond, within which artificial intelligence, FTL travel, and FTL communication are possible. All human civilizations in the Beyond are descended from a single ethnic Norwegian group. The original settlement of this group is known as Nyjora; other human settlements in the Beyond include Straumli Realm and Sjandra Kei. In the Beyond, FTL travel is accomplished by making many small "jumps" across space, with the efficiency of the drive increasing the farther a ship travels from the galactic core. The Beyond is not a homogeneous zone; it includes the "High Beyond", "Middle Beyond", and the "Bottom of the Beyond", depending on distance from the galactic core. The Beyond is populated by a very large number of interstellar and intergalactic civilizations which are linked by an FTL communication network, "the Net", sometimes cynically called the "Net of a Million Lies". The Net is depicted as working much like the Usenet network in the early 1990s, with transcripts of messages containing header and footer information as one would find in such forums. The outermost layer, containing the galactic halo, is the Transcend, within which incomprehensible, superintelligent beings dwell. When a "Beyonder" civilization reaches the point of technological singularity, it can "Transcend", becoming a "Power". Such Powers always seem to relocate to the Transcend, seemingly necessarily, where they become engaged in activities which are entirely mysterious to those in the Beyond. == Plot == An expedition from Straumli Realm, a human civilization in the High Beyond, investigates a newly discovered data archive in the Low Transcend. The expedition's facility, High Lab, is gradually compromised by a superintelligence that is accidentally awoken by the researchers. This superintelligence is later known as the Blight. Shortly before the Blight's final "flowering", two self-aware entities, created similarly to the Blight, plot to aid the humans before the Blight can gain its full powers. Finally recognizing their danger, the High Lab researchers attempt to flee in two ships. The Blight destroys one ship; a second ship, carrying many High Lab children in coldsleep boxes, escapes. This ship lands on a distant planet at the Bottom of the Beyond. The planet is occupied by dog-like creatures, dubbed "Tines", who live in packs as group minds. The Tines have a level of technology comparable to the human Middle Ages. Upon landing, however, the two surviving adults, Arne and Sjana Olnsdot, are ambushed and killed by Tine fanatics known as Flenserists, in whose realm they have landed. The Flenserists capture their children, Jefri and Johanna. Johanna is rescued by a Tine named Peregrine and taken to a neighboring kingdom ruled by Woodcarver. A distress signal from the Straumli ship eventually reaches Relay, a major information provider for the Net. A Transcendent being named "Old One" contacts Relay, seeking information about the Blight and the humans who released it. Old One then reconstitutes a human man named Pham Nuwen from the wreckage of a spaceship to act as its agent. Pham remains unsure if he is a construct or if his memories are real. Ravna Bergsndot, the only human Relay employee, traces the Straumli ship's signal to the Tines' world and persuades her employer to investigate. Ravna contracts the merchant vessel Out of Band II to transport her and Pham. The ship is owned by two Skroderiders, Blueshell and Greenstalk. Before the mission is launched, the Blight launches a surprise attack on Relay and kills Old One. As Old One dies, it downloads its anti-Blight information into Pham. Pham, Ravna and the Skroderiders barely escape Relay's destruction in the Out of Band II. During their journey to Tine's World, Ravna communicates with Jefri. Jefri is manipulated to believe that Woodcarver is his enemy. The Flenserist leaders, Steel and Tyrathect, use Ravna's information to develop advanced technology such as cannon and radio communication. Meanwhile, Johanna and the knowledge stored in her dataset device help Woodcarver rapidly develop as well. The Blight expands, taking over several civilizations, brainwashing their populations, and seizing archives in the Beyond. On the Net, some claim that humans are the means by which the Blight is able to spread. Anti-human fanatics destroy the entire civilization of Sjandra Kei, which is Ravna's home world. The Out of Band II is pursued by three fleets: anti-human fanatics, survivors from Sjandra Kei, and a shadow fleet controlled by the Blight. During the pursuit, Ravna and Pham learn that every member of the Skroderider species can be subverted by the Blight; this drives a wedge between the crew members. Ships from Sjandra Kei sacrifice themselves to delay the Blight and the anti-human ships, allowing the Out of Band II to reach Tine's World before the Blight. When the Out of Band II arrives at Tine's World, the humans ally with Woodcarver to defeat the Flenserists and rescue Jefri. Blueshell sacrifices himself to rescue Jefri. Pham then initiates an anti-Blight Countermeasure, which was aboard the humans' ship. The Countermeasure extends the Slow Zone outward by thousands of light years. This envelops and destroys the Blight, but results in the destruction of thousands of civilizations and trillions of deaths. The humans are stranded on the Tines' World, now in the depths of the Slow Zone. Activating the Countermeasure proves fatal to Pham, but before he dies, the remnant of Old One reveals to him that, although his body is a reconstruction, his memories are indeed real. == Related works == Vinge first used the concepts of "Zones of Thought" in a 1988 novella The Blabber, which occurs after Fire. Vinge's novel A Deepness in the Sky (1999) is a prequel to A Fire Upon the Deep set 20,000 years earlier and featuring Pham Nuwen. Vinge's The Children of the Sky, "a near-term sequel to A Fire Upon the Deep", set ten years later, was released in October 2011. Vinge's former wife, Joan D. Vinge, has also written s

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  Django (web framework)

  Django ( JANG-goh; sometimes stylized as django) is a free and open-source, Python-based web framework that runs on a web server. It follows the model–template–views (MTV) architectural pattern. It is maintained by the Django Software Foundation (DSF), an independent organization established in the US as a 501(c)(3) non-profit. Django's primary goal is to ease the creation of complex, database-driven websites. The framework emphasizes reusability and "pluggability" of components, less code, low coupling, rapid development, and the principle of don't repeat yourself. Python is used throughout, even for settings, files, and data models. Django also provides an optional administrative create, read, update and delete interface that is generated dynamically through introspection and configured via admin models. Some well-known sites that use Django include Instagram, Mozilla, Disqus, Bitbucket, Nextdoor, and Clubhouse. == History == Django was created in the autumn of 2003, when the web programmers at the Lawrence Journal-World newspaper, Adrian Holovaty and Simon Willison, began using Python to build applications. Jacob Kaplan-Moss was hired early in Django's development shortly before Willison's internship ended. It was released publicly under a BSD license in July 2005. The framework was named after guitarist Django Reinhardt. Holovaty is a romani jazz guitar player inspired in part by Reinhardt's music. In June 2008, it was announced that a newly formed Django Software Foundation (DSF) would maintain Django in the future. == Features == === Components === Despite having its own nomenclature, such as naming the callable objects generating the HTTP responses "views", the core Django framework can be seen as an MVC architecture. It consists of an object-relational mapper (ORM) that mediates between data models (defined as Python classes) and a relational database ("Model"), a system for processing HTTP requests with a web templating system ("View"), and a regular-expression-based URL dispatcher ("Controller"). Also included in the core framework are: a lightweight and standalone web server for development and testing a form serialization and validation system that can translate between HTML forms and values suitable for storage in the database a template system that utilizes the concept of inheritance borrowed from object-oriented programming a caching framework that can use any of several cache methods support for middleware classes that can intervene at various stages of request processing and carry out custom functions an internal dispatcher system that allows components of an application to communicate events to each other via pre-defined signals an internationalization system, including translations of Django's own components into a variety of languages a serialization system that can produce and read XML and/or JSON representations of Django model instances a system for extending the capabilities of the template engine an interface to Python's built-in unit test framework === Bundled applications === The main Django distribution also bundles a number of applications in its "contrib" package, including: an extensible authentication system the dynamic administrative interface tools for generating RSS and Atom syndication feeds a "Sites" framework that allows one Django installation to run multiple websites, each with their own content and applications tools for generating Sitemaps built-in mitigation for cross-site request forgery, cross-site scripting, SQL injection, password cracking and other typical web attacks, most of them turned on by default a framework for creating geographic information system (GIS) applications === Extensibility === Django's configuration system allows third-party code to be plugged into a regular project, provided that it follows the reusable app conventions. More than 5000 packages are available to extend the framework's original behavior, providing solutions to issues the original tool didn't tackle: registration, search, API provision and consumption, CMS, etc. This extensibility is, however, mitigated by internal components' dependencies. While the Django philosophy implies loose coupling, the template filters and tags assume one engine implementation, and both the auth and admin bundled applications require the use of the internal ORM. None of these filters or bundled apps are mandatory to run a Django project, but reusable apps tend to depend on them, encouraging developers to keep using the official stack in order to benefit fully from the apps ecosystem. === Server arrangements === Django can be run on ASGI or WSGI-compliant web servers. Django officially supports five database backends: PostgreSQL, MySQL, MariaDB, SQLite, and Oracle. Microsoft SQL Server can be used with mssql-django. == Version history == The Django team will occasionally designate certain releases to be "long-term support" (LTS) releases. LTS releases will get security and data loss fixes applied for a guaranteed period of time, typically 3+ years, regardless of the pace of releases afterwards. == Community == === DjangoCon === There is a semiannual conference for Django developers and users, named "DjangoCon", that has been held since September 2008. DjangoCon is held annually in Europe, in May or June; while another is held in the United States in August or September, in various cities. ==== United States ==== The 2012 DjangoCon took place in Washington, D.C., from September 3 to 8. 2013 DjangoCon was held in Chicago at the Hyatt Regency Hotel and the post-conference Sprints were hosted at Digital Bootcamp, computer training center. The 2014 DjangoCon US returned to Portland, OR from August 30 to 6 September. The 2015 DjangoCon US was held in Austin, TX from September 6 to 11 at the AT&T Executive Center. The 2016 DjangoCon US was held in Philadelphia, PA at The Wharton School of the University of Pennsylvania from July 17 to 22. The 2017 DjangoCon US was held in Spokane, WA; in 2018 DjangoCon US was held in San Diego, CA. DjangoCon US 2019 was held again in San Diego, CA from September 22 to 27. DjangoCon 2021 took place virtually and in 2022, DjangoCon US returned to San Diego from October 16 to 21. DjangoCon US 2023 was held from October 16 to 20 at the Durham, NC convention center and DjangoCon US 2024 took place also in Durham in September 22 to 27. DjangoCon US 2025 was held from September 8 to 12 in Chicago, Illinois. ==== Europe ==== The 2025 edition of DjangoCon Europe took place in Dublin, Ireland from 23 to 27 April. In 2024, the conference was hosted in Vigo, Spain. Edinburgh, Scotland served as the venue for DjangoCon Europe in 2023. The 2022 conference was organized in Porto, Portugal. In 2021, DjangoCon Europe was held virtually due to the COVID-19 pandemic. The 2020 edition was also conducted as a fully virtual event. DjangoCon Europe 2019 was held in Copenhagen, Denmark. In 2018, the event took place in Heidelberg, Germany. The 2017 conference was convened in Florence, Italy. DjangoCon Europe 2012 was organized in Zurich, Switzerland. ==== Australia ==== Django mini-conferences are usually held every year as part of the Australian Python Conference 'PyCon AU'. Previously, these mini-conferences have been held in: Hobart, Australia, in July 2013, Brisbane, Australia, in August 2014 and 2015, Melbourne, Australia in August 2016 and 2017, and Sydney, Australia, in August 2018 and 2019. ==== Africa ==== The first DjangoCon Africa was held in Zanzibar, Tanzania, from 6 to 11 November 2023. The event hosted approximately 200 attendees from 22 countries, including 103 women. The conference featured 26 talks on topics such as software development, education, careers, accessibility, and agriculture, often highlighting perspectives from across the African continent. Future editions of the conference are planned, with details available on the official website === Community groups & programs === Django has spawned user groups and meetups around the world, a notable group is the Django Girls organization, which began in Poland but now has had events in 91 countries. Another initiative is Djangonaut Space, a mentorship program aimed at supporting new contributors to the Django ecosystem. The program pairs experienced mentors with developers to guide them through making meaningful contributions to Django and its community. It emphasizes long-term engagement, inclusion, and collaborative open-source development. == Ports to other languages == Programmers have ported Django's template engine design from Python to other languages, providing decent cross-platform support. Some of these options are more direct ports; others, though inspired by Django and retaining its concepts, take the liberty to deviate from Django's design: Liquid for Ruby Template::Swig for Perl Twig for PHP and JavaScript Jinja for Python ErlyDTL for Erlang == CMSs based on Django Framework == Django as a framework is capable of building a complete CMS

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  Belief–desire–intention software model

  The belief–desire–intention software model (BDI) is a software model developed for programming intelligent agents. Superficially characterized by the implementation of an agent's beliefs, desires and intentions, it actually uses these concepts to solve a particular problem in agent programming. In essence, it provides a mechanism for separating the activity of selecting a plan (from a plan library or an external planner application) from the execution of currently active plans. Consequently, BDI agents are able to balance the time spent on deliberating about plans (choosing what to do) and executing those plans (doing it). A third activity, creating the plans in the first place (planning), is not within the scope of the model, and is left to the system designer and programmer. == Overview == In order to achieve this separation, the BDI software model implements the principal aspects of Michael Bratman's theory of human practical reasoning (also referred to as Belief-Desire-Intention, or BDI). That is to say, it implements the notions of belief, desire and (in particular) intention, in a manner inspired by Bratman. For Bratman, desire and intention are both pro-attitudes (mental attitudes concerned with action). He identifies commitment as the distinguishing factor between desire and intention, noting that it leads to (1) temporal persistence in plans and (2) further plans being made on the basis of those to which it is already committed. The BDI software model partially addresses these issues. Temporal persistence, in the sense of explicit reference to time, is not explored. The hierarchical nature of plans is more easily implemented: a plan consists of a number of steps, some of which may invoke other plans. The hierarchical definition of plans itself implies a kind of temporal persistence, since the overarching plan remains in effect while subsidiary plans are being executed. An important aspect of the BDI software model (in terms of its research relevance) is the existence of logical models through which it is possible to define and reason about BDI agents. Research in this area has led, for example, to the axiomatization of some BDI implementations, as well as to formal logical descriptions such as Anand Rao and Michael Georgeff's BDICTL. The latter combines a multiple-modal logic (with modalities representing beliefs, desires and intentions) with the temporal logic CTL. More recently, Michael Wooldridge has extended BDICTL to define LORA (the Logic Of Rational Agents), by incorporating an action logic. In principle, LORA allows reasoning not only about individual agents, but also about communication and other interaction in a multi-agent system. The BDI software model is closely associated with intelligent agents, but does not, of itself, ensure all the characteristics associated with such agents. For example, it allows agents to have private beliefs, but does not force them to be private. It also has nothing to say about agent communication. Ultimately, the BDI software model is an attempt to solve a problem that has more to do with plans and planning (the choice and execution thereof) than it has to do with the programming of intelligent agents. This approach has recently been proposed by Steven Umbrello and Roman Yampolskiy as a means of designing autonomous vehicles for human values. == BDI agents == A BDI agent is a particular type of bounded rational software agent, imbued with particular mental attitudes, viz: Beliefs, Desires and Intentions (BDI). === Architecture === This section defines the idealized architectural components of a BDI system. Beliefs: Beliefs represent the informational state of the agent–its beliefs about the world (including itself and other agents). Beliefs can also include inference rules, allowing forward chaining to lead to new beliefs. Using the term belief rather than knowledge recognizes that what an agent believes may not necessarily be true (and in fact may change in the future). Beliefset: Beliefs are stored in database (sometimes called a belief base or a belief set), although that is an implementation decision. Desires: Desires represent the motivational state of the agent. They represent objectives or situations that the agent would like to accomplish or bring about. Examples of desires might be: find the best price, go to the party or become rich. Goals: A goal is a desire that has been adopted for active pursuit by the agent. Usage of the term goals adds the further restriction that the set of active desires must be consistent. For example, one should not have concurrent goals to go to a party and to stay at home – even though they could both be desirable. Intentions: Intentions represent the deliberative state of the agent – what the agent has chosen to do. Intentions are desires to which the agent has to some extent committed. In implemented systems, this means the agent has begun executing a plan. Plans: Plans are sequences of actions (recipes or knowledge areas) that an agent can perform to achieve one or more of its intentions. Plans may include other plans: my plan to go for a drive may include a plan to find my car keys. This reflects that in Bratman's model, plans are initially only partially conceived, with details being filled in as they progress. Events: These are triggers for reactive activity by the agent. An event may update beliefs, trigger plans or modify goals. Events may be generated externally and received by sensors or integrated systems. Additionally, events may be generated internally to trigger decoupled updates or plans of activity. BDI was also extended with an obligations component, giving rise to the BOID agent architecture to incorporate obligations, norms and commitments of agents that act within a social environment. === BDI interpreter === This section defines an idealized BDI interpreter that provides the basis of SRI's PRS lineage of BDI systems: initialize-state repeat options: option-generator (event-queue) selected-options: deliberate(options) update-intentions(selected-options) execute() get-new-external-events() drop-unsuccessful-attitudes() drop-impossible-attitudes() end repeat === Limitations and criticisms === The BDI software model is one example of a reasoning architecture for a single rational agent, and one concern in a broader multi-agent system. This section bounds the scope of concerns for the BDI software model, highlighting known limitations of the architecture. Learning: BDI agents lack any specific mechanisms within the architecture to learn from past behavior and adapt to new situations. Three attitudes: Classical decision theorists and planning research questions the necessity of having all three attitudes, distributed AI research questions whether the three attitudes are sufficient. Logics: The multi-modal logics that underlie BDI (that do not have complete axiomatizations and are not efficiently computable) have little relevance in practice. Multiple agents: In addition to not explicitly supporting learning, the framework may not be appropriate to learning behavior. Further, the BDI model does not explicitly describe mechanisms for interaction with other agents and integration into a multi-agent system. Explicit goals: Most BDI implementations do not have an explicit representation of goals. Lookahead: The architecture does not have (by design) any lookahead deliberation or forward planning. This may not be desirable because adopted plans may use up limited resources, actions may not be reversible, task execution may take longer than forward planning, and actions may have undesirable side effects if unsuccessful. == BDI agent implementations == === 'Pure' BDI === Procedural Reasoning System (PRS) IRMA (not implemented but can be considered as PRS with non-reconsideration) UM-PRS OpenPRS Distributed Multi-Agent Reasoning System (dMARS) AgentSpeak(L) – see Jason below AgentSpeak(RT) Agent Real-Time System (ARTS) (ARTS) JAM JACK Intelligent Agents JADEX (open source project) JaKtA JASON GORITE SPARK 3APL 2APL GOAL agent programming language CogniTAO (Think-As-One) Living Systems Process Suite PROFETA Gwendolen (Part of the Model Checking Agent Programming Languages Framework) === Extensions and hybrid systems === JACK Teams CogniTAO (Think-As-One) Living Systems Process Suite Brahms JaCaMo

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  Knights of Sidonia

  Knights of Sidonia (Japanese: シドニアの騎士, Hepburn: Shidonia no Kishi) is a Japanese manga series written and illustrated by Tsutomu Nihei. It was serialized by Kodansha's seinen manga magazine Monthly Afternoon between April 2009 and September 2015, with its chapters collected in 15 tankōbon volumes. It tells the story of Nagate Tanikaze, an "under-dweller" destined to become a Garde pilot, whose mission is to defend the generation ship Sidonia from a hostile alien species called Gauna. The manga was licensed for English release in North America by Vertical. An anime television series adaptation was produced by Polygon Pictures. The first season aired from April to June 2014; the second between April and June 2015. An anime film sequel titled Knights of Sidonia: Love Woven in the Stars premiered in June 2021. In 2015, Knights of Sidonia received the 39th Kodansha Manga Award in the general category, as well as the 47th Seiun Award in the Best Comic category in 2016. == Plot == === Setting === The story is set in the year 3394, a thousand years after mankind flees from Earth after it was destroyed by a race of shapeshifting aliens called the Gauna (奇居子（ガウナ）), aboard hundreds of colossal spacecraft created from the remains of the planet. One such ship is the Sidonia, which has developed its own human culture closely based on that of Japan where human cloning, asexual reproduction, and human genetic engineering, such as granting humans photosynthesis, are commonplace. It is also revealed that the top echelons of this society have secretly been granted immortality. With a population of over 500,000 people, Sidonia is possibly the last human settlement remaining, as the fates of the other ships are unknown. Little is known about the true nature of the Gauna or their motivation for attacking humanity. At any given time, a Gauna consists of a nearly impenetrable core protected by a dense layer of malleable flesh known as "placenta" (胞衣, ena). Once the ena is shed away and the core is destroyed, the Gauna's body disintegrates. While Sidonia itself is heavily armed with an arsenal of high-output beam cannons and mass cannons including slow but powerful planet-destroying warheads, it is primarily defended by large mechanized weapons called Gardes (衛人, Morito) whose weaponry and mobility is powered by "Higgs particles" (ヘイグス粒子, Heigusu Ryūshi), armed with a high-output beam cannon for long range assaults and a special spear known as "Kabizashi" for close combat. The tip of the kabizashi is made of a rare and little-understood material which has the unique property of being able to destroy a Gauna's core. Later the Gardes are also equipped with firearms whose ammunition have the same material of the Kabizashi after a means to artificially mass-produce it is discovered. Most people in the surviving human population are screened and drafted as Garde pilots at a young age, if they are shown to be capable of piloting them. === Story === The story follows the adventures of Garde pilot Nagate Tanikaze, who lived in the underground layer of Sidonia since birth and was raised by his grandfather. Never having met anyone else, he trains himself in an old Guardian pilot simulator every day, eventually mastering it. After his grandfather's death, he emerges to the surface and is selected as a Garde pilot, just as Sidonia is once again threatened by the Gauna. == Media == === Manga === Written and illustrated by Tsutomu Nihei, Knights of Sidonia was serialized in Kodansha's seinen manga magazine Monthly Afternoon from April 25, 2009, to September 25, 2015. It was compiled in 15 tankōbon volumes. The manga has been licensed in North America by Vertical, who released all 15 volumes in English between February 5, 2013, and April 26, 2016. === Anime === An anime television series adaptation, produced by Polygon Pictures, aired its first season from April 10 to June 26, 2014, on MBS and later on TBS, CBC and BS-TBS. The series was directed by Kōbun Shizuno, assisted by Hiroyuki Seshita, with scripts by Sadayuki Murai and character designs by Yuki Moriyama. The opening theme song is "Sidonia" (シドニア, Shidonia), performed by Angela, while the ending theme song is "Show" (掌 -show-, Shō), performed by Eri Kitamura. A second season aired from April 11 to June 26, 2015. For the second season, the opening theme song is "Kishi Kōshinkyoku" (騎士行進曲, Knight March), performed by Angela, while the ending theme song is "Requiem" (鎮魂歌 -レクイエム-, Rekuiemu), performed by CustomiZ. The series was localized and streamed by Netflix in all of its territories since July 4, 2014, becoming the service's first original anime, as well as the first anime series on Netflix available in Dolby Vision/HDR. The first season has been licensed for home video release by Sentai Filmworks. The second season was released on Netflix on July 3, 2015, and has been licensed by Sentai Filmworks for home video distribution. In July 2021, Funimation announced they acquired the streaming rights from Netflix to both seasons. === Films === A compilation film of the first season with additional scenes and re-edited sound effects was released on March 6, 2015. A new anime film, titled Knights of Sidonia: Love Woven in the Stars, was announced on July 3, 2020. Hiroyuki Seshita served as chief director, while Tadahiro Yoshihira served as director for the new film, with Polygon Pictures returning for production. Sadayuki Murai and Tetsuya Yamada returned to write scripts, while Shūji Katayama composed the music. The rest of the staff and cast returned to reprise their roles. The first four minutes of the film were shown on YouTube on April 28, 2021. The film was set to premiere on May 14, 2021, but was delayed to June 4, 2021, due to the COVID-19 pandemic. Funimation screened the film in international theaters starting on September 13, 2021. == Reception == === Manga === Knights of Sidonia won the 39th Kodansha Manga Award in the general category in 2015. The manga won the 47th Seiun Award in the Best Comic category in 2016. It also won the Best Seinen category at the 26th Salón del Manga de Barcelona in 2020. It was one of the Jury Recommended works in the Manga Division at the 17th Japan Media Arts Festival in 2013. The Young Adult Library Services Association listed Knights of Sidonia in its 2014 list of Top 10 Graphic Novels for Teens. Carlo Santos from Anime News Network gave the first manga volume a B, stating, "It is got a young man piloting a giant robot against alien enemies, but Knight of Sidonia is no Neon Genesis Evangelion. Yet it is not as bleak or incomprehensible as Tsutomu Nihei works like Blame! or Biomega, either—rather, it is the best of both worlds, bringing Nihei's hard sci-fi mentality into a more conventional space-adventure environment". === Anime === The anime series received positive reviews, even from famous members of the Japanese anime/game industry, like Hideo Kojima, creator of the Metal Gear series, who claims that "It's a kind of anime that we haven't seen for a while that has that sci-fi spirit. Using digital technology cultivated through games, it creates animation that encapsulates Japan's cultural assets like manga, cel animation, kanji, giant robots, etc. What's born is a unique made-in-Japan work that could never be cooked up in Hollywood. Japanese culture has lost its 'cool', and Knights of Sidonia will be the white knight that saves it". Other industry pros left acknowledgements as well, including Akiko Higashimura, Digitarou and Yoshinao Dao.

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  The MANIAC

  The MANIAC is a 2023 novel by Chilean author Benjamín Labatut, written in English. It is a fictionalised biography of polymath John von Neumann, whom Labatut calls "the smartest human being of the 20th century". The book focuses on von Neumann, but is also about physicist Paul Ehrenfest, the history of artificial intelligence, and Lee Sedol's Go match against AlphaGo. The book received mostly positive reviews from critics. == Background == John von Neumann was a Jewish Hungarian-born polymath who was a prodigy from an early childhood. Von Neumann worked in multiple fields of science, theoretical (mathematical foundations of quantum mechanics, game theory, cellular automata) and applied (nuclear weapons research during the Manhattan Project in World War II, computer architecture later named after him, and many other subjects). Labatut calls him "the smartest human being of the 20th century". The title of the book is derived from an early computer based on von Neumann architecture, built after the war at Los Alamos laboratory, called MANIAC I. Benjamín Labatut is a Chilean author known for his 2020 book When We Cease to Understand the World, a collection of fictionalised stories about famous scientists that received positive reviews and was translated into multiple languages from Spanish. The MANIAC is Labatut's first book written in English. In an interview, Labatut said he prefers to write in English: English is my preferred form of thought. ... English is the language I do most if not all my reading it. And it is a far better language than Spanish, in so many ways. Writing "clean" prose in Spanish is almost impossible, because so many of its sounds clash. Borges said that he found English "a far finer language than Spanish" because it's both Germanic and Latin; because of its wonderful vocabulary ("Regal is not exactly the same thing as saying kingly," he explained); because of its physicality; and because you can do almost anything with verbs and prepositions. Labatut was inspired to write The MANIAC by George Dyson's book Turing's Cathedral. == Synopsis == The book has three chapters. The first chapter, "Paul or the Discovery of the Irrational", written in the third person, is about physicist Paul Ehrenfest. The chapter opens with Ehrenfest shooting dead his son Vassily, who suffered from Down syndrome, and then himself. It then recounts Ehrenfest's life story, describing his relationships with his wife Tatyana, his mistress Nelly Meyjes, and his eminent physicist colleagues. It chronicles his descent into despair and depression over his marriage's disintegration, the advent of quantum mechanics, and the direction Europe was heading in with the Nazi Party's rise to power in Germany, looping back to the initial scene of the chapter. The second chapter, "John or the Mad Dreams of Reason", is about John von Neumann, and is written as a series of interviews of his family members, wives, friends, and colleagues, each in a distinctive voice. It is divided into three parts. Part I, "The Limits of Logic", is about his early life, as told by von Neumann's childhood friend Eugene Wigner, mother Margrit Kann, brother Nicholas von Neumann, first wife Mariette Kövesi, and scientists Theodore von Karman, George Polya, and Gábor Szegő. It climaxes with von Neumann's participation in David Hilbert's program to create a logical basis for mathematics based on a consistent set of axioms, a quest ultimately scuppered by Kurt Gödel. Part II, "The Delicate Balance of Terror", discusses von Neumann's role in the Manhattan Project (as told by Richard Feynman); his development of game theory and the doctrine of mutual assured destruction (MAD) (as told by Oskar Morgenstern); and his creation of the MANIAC I computer and the von Neumann architecture (as told by Julian Bigelow). In Part III, "Ghosts in the Machine", Sydney Brenner discusses von Neumann's contributions to biology, his theoretical work on self-replicating and self-repairing machines, and his vision of Von Neumann probes exploring the universe. Nils Aall Barricelli talks about his ideas of digital life and his disagreements with von Neumann. Von Neumann's wife Klára Dán, daughter Marina, and Wigner talk about his final years, personal life, and death. The third chapter, "Lee or The Delusions of Artificial Intelligence", is about Lee Sedol's Go match against AlphaGo. The narrative reverts to the third person. The chapter also tells the story of Demis Hassabis, a chess prodigy in childhood who decided to work on artificial intelligence and founded DeepMind, the company behind AlphaGo. The way is pointed to the future, as artificial intelligence's growing capabilities outpace the human mind. The book ends with Lee Sedol's retirement from Go, and new version of DeepMind's program, AlphaZero, that did not train on human games but nevertheless became the strongest player in Go, chess, and Shogi. == Reception == The book received mostly positive reviews. In his review for The New York Times Tom McCarthy noted the ambiguity of genre: "At its best, as in the stunning opening sequence reconstructing the murder-suicide of the physicist Paul Ehrenfest and his disabled son, or in the final section's gripping account of a computer defeating the world's best human Go player, you just throw up your hands and think, Who cares what discourse label we assign this stuff? It's great." Becca Rothfeld of the Washington Post praised the book, writing that it is "Labatut's latest virtuosic effort, at once a historical novel and a philosophical foray": "The MANIAC is a work of dark, eerie and singular beauty." She noted that the book "can also be difficult to read" because of its unusual narrative structure: "The book is narrated by a cluttered polyphony of characters, among them both of von Neumann's wives and a number of his teachers and colleagues. ... Like von Neumann, The MANIAC strives to adopt the impartial standpoint of the universe." Killian Fox of The Guardian sees the book as "darkly fascinating novel", and notes Labatut's "impressive dexterity, unpicking complex ideas in long, elegant sentences that propel us forward at speed (this is his first book written in English). Even in the more feverish passages, when yet another great mind succumbs to madness, haunted by the spectres they've helped unleash on the world, he feels in full control of his material." Sam Byers of The Guardian praises the book and the author's style: "The opening chapter of Benjamín Labatut's second novel is such a perfect distillation of his technique that it could serve as a manifesto." and "Readers ... will recognise the sense of breathlessness his best writing can evoke. Seemingly loosened from the laws of physics they describe, his sentences range freely through time and space, connecting not only characters and events, but the delicate tissue of intellectual history, often with a lightness of touch that belies their underlying complexity." He writes on the narrative structure: "Through a cascade of staccato chapters, an ensemble of narrators offer their piecemeal insights." Byers adds that "a brilliant novel is not quite what we end up with" and sees the problem in the "diffusion": "Labatut simply spreads himself too thin. Too many years in too few pages; too many voices with far too little to distinguish them. Initially intriguing, the bite-size monologues quickly come to feel inadequate." Some reviewers did not see the book as a biography. In an essay for the Cleveland Review of Books, Ben Cosman juxtaposes the book with Christopher Nolan's biopic Oppenheimer, and writes that it "follows the development of artificial intelligence—first as an idea at the beginning of the twentieth century, and then as a practicality at the beginning of the twenty-first—through the lives of three men who faced it." He also compared the book's structure to "witness testimony". Another reviewer called the book "perfect for anyone thirsting for more nuclear anxiety after watching Oppenheimer". Garrett Biggs of the Chicago Review of Books writes of the book's style: "Labatut writes about scientists the way Roberto Bolaño writes about poets. They are near mythical figures, captured at the corner of the novel's eye. They become historical in the most fraught sense of the term: subject to rumor and speculation and, eventually, the novel's form inflates their personas into something so large they can only be understood as narrative, never known in any objective capacity." Biggs criticises the last chapter: "the story of artificial intelligence has yet to be written. And so when Labatut's narration editorializes about artificial intelligence as 'a future that inspires hope and horror,' The MANIAC disassembles as a novel and starts to sound like a stale thinkpiece. AlphaGo might represent the first glimmer of a true artificial intelligence, as Labatut suggests. It also could one day be considered nothing more than a souped-up cousin to IBM's DeepBlue.

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  Waveform graphics

  Waveform graphics is a simple vector graphics system introduced by Digital Equipment Corporation (DEC) on the VT55 and VT105 terminals in the mid-1970s. It was used to produce graphics output from mainframes and minicomputers. DEC used the term "waveform graphics" to refer specifically to the hardware, but it was used more generally to describe the whole system. The system was designed to use as little computer memory as possible. At any given X location it could draw two dots at given Y locations, making it suitable for producing two superimposed waveforms, line charts or histograms. Text and graphics could be mixed, and there were additional tools for drawing axes and markers. The waveform graphics system was used only for a short period of time before it was replaced by the more sophisticated ReGIS system, first introduced on the VT125 in 1981. ReGIS allowed the construction of arbitrary vectors and other shapes. Whereas DEC normally provided a backward compatible solution in newer terminal models, they did not choose to do this when ReGIS was introduced, and waveform graphics disappeared from later terminals. == Description == Waveform graphics was introduced on the VT55 terminal in October 1975, an era when memory was extremely expensive. Although it was technically possible to produce a bitmap display using a framebuffer using technology of the era, the memory needed to do so at a reasonable resolution was typically beyond the price point that made it practical. All sorts of systems were used to replace computer memory with other concepts, like the storage tubes used in the Tektronix 4010 terminals, or the zero memory racing-the-beam system used in the Atari 2600. DEC chose to attack this problem through a clever use of a small buffer representing only the vertical positions on the screen. Such a system could not draw arbitrary shapes, but would allow the display of graph data. The system was based on a 512 by 236 pixel display, producing 512 vertical columns along the X-axis, and 236 horizontal rows on the Y-axis. Y locations were counted up from the bottom, so the coordinate 0,0 was in the lower left, and 511, 235 in the upper right. Had this been implemented using a framebuffer with each location represented by a single bit, 512 × 236 × 1 = 120,832 bits, or 15,104 bytes, would have been required. At the time, memory cost about $50 per kilobyte, so the buffer alone would cost over $700 (equivalent to $4,570 in 2025). Instead, the waveform graphic system used one byte of memory for each X axis location, with the byte's value representing the Y location. This required only 512 bytes for each graph, a total of 1024 bytes for the two graphs. Drawing a line required the programmer to construct a series of Y locations and send them as individual points, the terminal could not connect the dots itself. To make this easier, the terminal automatically incremented the X location every time an Y coordinate was received, so a graph line could be sent as a long string of numbers for subsequent Y locations instead of having to repeatedly send the X location every time. Drawing normally started by sending a single instruction to set the initial X location, often 0 on the left, and then sending in data for the entire curve. The system also included storage for up to 512 markers on both lines. These were always drawn centered on the Y value of the line they were associated with, meaning that a simple on/off indication for X locations was all that was needed, requiring only 1024 bits, or 128 bytes, in total. The markers extended 16 pixels vertically, and could only be aligned on 16-pixel boundaries, so they were not necessarily centered across the underlying graph. Markers were used to indicate important points on the graph, where a symbol of some sort would normally be used. The system also allowed a vertical line to be drawn for every horizontal location and a horizontal one at every vertical location. These were also stored as simple on/off bits, requiring another 128 bytes of memory. These lines were used to draw axes and scale lines, or could be used for a screen-spanning crosshair cursor. A separate set of two 7-bit registers held additional information about the drawing style and other settings. Although complex from the user's perspective, this system was easy to implement in hardware. A cathode ray tube produces a display by scanning the screen in a series of horizontal motions, moving down one vertical line after each horizontal scan. At any given instant during this process, the display hardware examines a few memory locations to see if anything needs to be displayed. For instance, it can determine whether to draw a marker on graph 0 by examining register 1 to see if markers are turned on, looking in the marker buffer to see if there is a 1 at the current X location, and then examining the Y location of graph 0 to see if it is within 16 pixels of the current scan line. If all of these are true, a spot is drawn to present that portion of the marker. As this will be true for 16 vertical locations during the scanning process, a 16-pixel high marker will be drawn. Sold alone, the VT55 was priced at $2,496 (equivalent to $16,295 in 2025),. Like other models of the VT50 series, the terminal could be equipped with an optional wet-paper printer in a panel on the right of the screen. This added $800 (equivalent to $5,223 in 2025) to the price. DEC also offered VT55 in a package with a small model of the PDP-11 to create one model of the DEClab 11/03 system. The DEClab normally sold for $14,000 (equivalent to $91,397 in 2025) with a DECwriter II (LA36) hard-copy terminal for $15,000 (equivalent to $97,925 in 2025), with the VT55. The system had I/O channels for up to 15 lab devices, and included libraries for FORTRAN and BASIC for reading the data and creating graphs. The fairly extensive VT55 Programmers Manual covered the latter in depth. == Commands and data == Data was sent to the terminal using an extended set of codes similar to those introduced on the VT52. VT52 codes generally started with the ESC character (octal 33, decimal 27) and was then followed by a single letter instruction. For instance, the string of four characters ESC H ESC J would reposition the cursor in the upper left (home) and then clear the screen from that point down. These codes were basically modeless; triggered by the ESC the resulting escape mode automatically exited again when the command was complete. Escape codes could be interspersed with display text anywhere in the stream of data. In contrast, the graphics system was entirely modal, with escape sequences being sent to cause the terminal to enter or exit graph drawing mode. Data sent between these two codes were interpreted by the graphics hardware, so text and graphics could not be mixed in a single stream of instructions. Graphics mode was entered by sending the string ESC 1, and exited again with the string ESC 2. Even the commands within the graphics mode were modal; characters were interpreted as being additional data for the previous load character (command) until another load character is seen. Ten load characters were available: @ - no operation, used to tell the terminal the last command is no longer active A - load data into register 0, selecting the drawing mode for the two graphs I - load data into register 1, selecting other drawing options H - load the starting X position (Horizontal) for the following commands B - load data for Y locations for graph 0 starting at the H position selected earlier J - load data for Y locations for graph 1 starting at the H position selected earlier C - store a marker on graph 0 at the following X location K - store a marker on graph 1 at the following X location D - draw a horizontal line at the given Y location L - draw a vertical line at the given X location X and Y locations were sent as 10-bit decimal numbers, encoded as ASCII characters, with 5 bits per character. This means that any number within the 1024 number space (210) can be stored as a string of two characters. To ensure the characters can be transmitted over 7-bit links, the pattern 01 is placed in front of both 5-bit numbers, producing 7-bit ASCII values that are always within the printable range. This results in a somewhat complex encoding algorithm. For instance, if one wanted to encode the decimal value 102, first you convert that to the 10-bit decimal pattern 0010010010. That is then split that into upper and lower 5-bit parts, 00100 and 10010. Then append 01 binary to produce 7-bit numbers 0100100 and 0110010. Individually convert back to decimal 40 and 50, and then look up those characters in an ASCII chart, finding ( and 2. These have to be sent to the terminal least significant character first. If these were being used to set the X coordinate, the complete string would be H2(. When used as X and Y locations for the graphs, extra digits were ignored. For instance, the 512 pixel X axis r

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  Nature Manifesto

  Nature Manifesto is an Immersive sound piece and multimedia installation by Icelandic artist Björk and artist and curator Aleph Molinari, created in collaboration with the French Institute for Research and Coordination in Acoustics/Music (IRCAM). The installation was showcased at the Centre Pompidou in Paris, France from November 20, 2024 to December 9, 2024, as part of the museum's "Biodiversity: Which Culture for Which Future?" forum. It combines natural soundscapes, calls of extinct animals reconstructed through artificial intelligence, and Björk's narration to address damages to biodiversity and the collapse of ecosystems. == Background == Björk's work intricately weaves themes of nature and technology, reflecting her deep engagement with both realms. In 2008, she co-founded the Náttúra campaign to protest the construction of foreign-backed aluminum factories in Iceland, aiming to protect the country's natural landscapes. She released the single "Náttúra" featuring Thom Yorke, with all proceeds supporting this environmental initiative. Her 2011 album Biophilia further exemplifies this synthesis, exploring the relationships between music, nature, and technology through a multimedia project that included interactive apps, custom-made instruments, and educational workshops. Björk's Cornucopia tour (2019-2023) seamlessly integrates themes of nature preservation and environmental activism, and featured a recorded message by Swedish climate activist Greta Thunberg. The tour's fusion of music, technology, and natural imagery reflects Björk's vision of a harmonious coexistence between humanity and nature, advocating for sustainable futures. Björk has previously used artificial intelligence in her works. In 2020, she collaborated with Microsoft to create Kórsafn, a sound installation for the Sister City Hotel lobby in New York City which used an AI-powered model that elaborated choral recordings from her discography through a sensor on the rooftop of the building that would generate music according to data like the weather and the seasons. For her charity single "Oral", featuring Spanish singer Rosalía, she released a music video directed by photographer and visual artist Carlota Guerrero, who used AI-generated deepfake versions of the artists. == Concept == Nature Manifesto is a three-minute and forty-second immersive sound piece. The composition merges Björk's voice, as she articulates a manifesto on biodiversity and the climate crisis, with cries of extinct and endangered animals, harmonizing them with natural soundscapes. The installation was curated by Chloé Siganos and Aleph Molinari, with associate curator Delphine Le Gatt. The primary goal of Nature Manifesto is to foster a deeper understanding of humanity's impact on the natural world. Conceived as a "post-optimistic" manifesto, Aleph Molinari stated that the project's purpose was to "offer a voice to nature". He stated that "the modern concept of nature itself is problematic [...] because it’s a concept born in the Romantic period and, with the rise of the industrial era, became an antithesis to human civilisation and everything urban. Nature came to define what was outside, the savage Other... But nature is everything that we’re part of." The soundscape features recreated calls of extinct and endangered species, developed in collaboration with the French sound research institute IRCAM. Artificial intelligence was employed to simulate the vocalizations of animals that no longer exist in the wild. To save energy and lessen the ecological impact of the use of AI, the research institute developed a "frugal AI" model capable of generating audio in real-time on local servers without a graphics processing unit. The sounds were then produced and edited by Björk in collaboration with Robin Meier Wiratunga and Bergur Þórisson. The installation was located within the Centre Pompidou's escalator, known as the "caterpillar". The installation was further supported by videos created by visual artist Sam Balfus (also known as Balfua) by using artificial intelligence, and edited by Santiago Molinari. == Activism == To sustain and broaden the themes presented in Nature Manifesto, Björk publicly urged French President Emmanuel Macron to prohibit bottom trawling within France's marine protected areas (MPA). She criticized the French government's claim of protecting 30% of its marine territories, highlighting that over 90% of these MPAs exist only on paper, allowing destructive practices like bottom trawling to continue unchecked. She collaborated with non-governmental organizations Sustainable Ocean Alliance, Ungir umhverfissinnar and Bloom, to advocate for genuine ocean conservation. Björk promoted the cause through her social media profiles by sharing petitions. In November 2024, Björk lent her Instagram account to French environmental activists to directly address Macron. The activists used the platform to call for stronger protection of the ocean, urging Macron to impose stricter restrictions on harmful fishing practices, particularly bottom trawling. == Reception == Nature Manifesto received mixed to positive reviews from critics. Some critiques focused on the installation's setting, suggesting that the movement inherent to the escalator space diminished the immersive potential of the soundscape. The choice of using artificial intelligence was also questioned. Björk and Molinari defended this, as both see AI as a tool that can be used creatively and sustainably, with Björk focusing on the importance of human input to give AI a "soul", and Molinari stressing the need for sustainable technological practices in the broader context of digital life. After the exhibition ended, Björk further opinionated: "this is how we will work in the future. [...] if there is no soul in tomorrow's music made by AI it is because [no one] put it there and we have to speak out and guard this as listeners", further stating that there is already "soulless muzak" [sic] on Spotify, "mass manufactured without the attention of creativity".

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  Question (short story)

  "Question" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the March 1955 issue of Computers and Automation (thought to be the first computer magazine), and was reprinted in the April 30, 1957, issue of Science World. It is the first of a loosely connected series of stories concerning a fictional supercomputer called Multivac. The story concerns two technicians who are servicing Multivac, and their argument over whether or not the machine is truly intelligent and able to think. Multivac, however, supplies the answer on its own. After the reprint, another author, Robert Sherman Townes, noticed the climax in the last sentence was very similar to one of his own stories, "Problem for Emmy" (Startling Stories, June 1952), and wrote to Asimov about it. After searching in his library, Asimov did find the original story and, although he did not recall having read it, admitted that the endings were pretty similar. He then replied to Townes, apologizing and promising the story would never again be published, and it never was. Asimov mentioned "Question" in an editorial called "Plagiarism" which appeared in the August 1985 issue of Asimov's Science Fiction (although he did not mention Townes' name or the title of either story). "Plagiarism" was reprinted in Asimov's collection Gold (1995).

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  Clanker

  Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.

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  Biopython

  Biopython is an open-source collection of non-commercial Python modules for computational biology and bioinformatics. It makes robust and well-tested code easily accessible to researchers. Python is an object-oriented programming language and is a suitable choice for automation of common tasks. The availability of reusable libraries saves development time and lets researchers focus on addressing scientific questions. Biopython is constantly updated and maintained by a large team of volunteers across the globe. Biopython contains parsers for diverse bioinformatic sequence, alignment, and structure formats. Sequence formats include FASTA, FASTQ, GenBank, and EMBL. Alignment formats include Clustal, BLAST, PHYLIP, and NEXUS. Structural formats include the PDB, which contains the 3D atomic coordinates of the macromolecules. It has provisions to access information from biological databases like NCBI, Expasy, PBD, and BioSQL. This can be used in scripts or incorporated into their software. Biopython contains a standard sequence class, sequence alignment, and motif analysis tools. It also has clustering algorithms, a module for structural biology, and a module for phylogenetics analysis. == History == The development of Biopython began in 1999, and it was first released in July 2000. First "semi-complete" and "semi-stable" release was done in March 2001 and December 2002 respectively. It was developed during a similar time frame and with analogous goals to other projects that added bioinformatics capabilities to their respective programming languages, including BioPerl, BioRuby and BioJava. Early developers on the project included Jeff Chang, Andrew Dalke and Brad Chapman, though over 100 people have made contributions to date. In 2007, a similar Python project, namely PyCogent, was established. The initial scope of Biopython involved accessing, indexing and processing biological sequence files. The retrieved data from common biological databases will then be parsed into a python data structure. While this is still a major focus, over the following years added modules have extended its functionality to cover additional areas of biology. The key challenge in the design of parsers for bioinformatics file formats is the frequency at which the data formats change. This is due to inadequate curation of the structure of the data, and changes in the database contents. This problem is overcome by the application of a standard event-oriented parser design (see Key features and examples). As of version 1.77, Biopython no longer supports Python 2. The current stable release of Biopython version 1.85 was released on 15 January 2025. It only supports Python 3 and the recent releases of Biopython require NumPy (and not Numeric). == Design == Wherever possible, Biopython follows the conventions used by the Python programming language to make it easier for users familiar with Python. For example, Seq and SeqRecord objects can be manipulated via slicing, in a manner similar to Python's strings and lists. It is also designed to be functionally similar to other Bio projects, such as BioPerl. It is organized into modular sub-packages, e.g., Bio.Seq, Bio.Align, Bio.PDB, Bio.Entrez each of them useful in a different bioinformatics domain. It used principles, like encapsulation and polymorphism, notably in classes Seq, SeqRecord, and Bio.PDB.Structure. It can also interoperate with other Python tools (Pandas, Matplotlib and SciPy). Biopython can read and write most common file formats for each of its functional areas, and its license is permissive and compatible with most other software licenses, which allows Biopython to be used in a variety of software projects. == Requirements == Biopython is currently supported and tested with the following Python implementations: Python 3 or PyPy3 NumPy == Key features and examples == === Input and output === Biopython can read and write to a number of common formats. When reading files, descriptive information in the file is used to populate the members of Biopython classes, such as SeqRecord. This allows records of one file format to be converted into others. Very large sequence files can exceed a computer's memory resources, so Biopython provides various options for accessing records in large files. They can be loaded entirely into memory in Python data structures, such as lists or dictionaries, providing fast access at the cost of memory usage. Alternatively, the files can be read from disk as needed, with slower performance but lower memory requirements. === Sequences === A core concept in Biopython is the biological sequence, and this is represented by the Seq class. A Biopython Seq object is similar to a Python string in many respects: it supports the Python slice notation, can be concatenated with other sequences and is immutable. This object includes both general string-like and biological sequence-specific methods. It is best to store information about the biological type (DNA, RNA, protein) separately from the sequence, rather than using an explicit alphabet argument. === Sequence annotation === The SeqRecord class describes sequences, along with information such as name, description and features in the form of SeqFeature objects. Each SeqFeature object specifies the type of the feature and its location. Feature types can be ‘gene’, ‘CDS’ (coding sequence), ‘repeat_region’, ‘mobile_element’ or others, and the position of features in the sequence can be exact or approximate. === Accessing online databases === Through the Bio.Entrez module, users of Biopython can download biological data from NCBI databases. Each of the functions provided by the Entrez search engine is available through functions in this module, including searching for and downloading records. === Phylogeny === The Bio.Phylo module provides tools for working with and visualising phylogenetic trees. A variety of file formats are supported for reading and writing, including Newick, NEXUS and phyloXML. Common tree manipulations and traversals are supported via the Tree and Clade objects. Examples include converting and collating tree files, extracting subsets from a tree, changing a tree's root, and analysing branch features such as length or score. Rooted trees can be drawn in ASCII or using matplotlib (see Figure 1), and the Graphviz library can be used to create unrooted layouts (see Figure 2). === Genome diagrams === The GenomeDiagram module provides methods of visualising sequences within Biopython. Sequences can be drawn in a linear or circular form (see Figure 3), and many output formats are supported, including PDF and PNG. Diagrams are created by making tracks and then adding sequence features to those tracks. By looping over a sequence's features and using their attributes to decide if and how they are added to the diagram's tracks, one can exercise much control over the appearance of the final diagram. Cross-links can be drawn between different tracks, allowing one to compare multiple sequences in a single diagram. === Macromolecular structure === The Bio.PDB module can load molecular structures from PDB and mmCIF files, and was added to Biopython in 2003. The Structure object is central to this module, and it organises macromolecular structure in a hierarchical fashion: Structure objects contain Model objects which contain Chain objects which contain Residue objects which contain Atom objects. Disordered residues and atoms get their own classes, DisorderedResidue and DisorderedAtom, that describe their uncertain positions. Using Bio.PDB, one can navigate through individual components of a macromolecular structure file, such as examining each atom in a protein. Common analyses can be carried out, such as measuring distances or angles, comparing residues and calculating residue depth. === Population genetics === The Bio.PopGen module adds support to Biopython for Genepop, a software package for statistical analysis of population genetics. This allows for analyses of Hardy–Weinberg equilibrium, linkage disequilibrium and other features of a population's allele frequencies. This module can also carry out population genetic simulations using coalescent theory with the fastsimcoal2 program. === Wrappers for command line tools === Biopython previously included command-line wrappers for tools such as BLAST, Clustal, EMBOSS, and SAMtools. This option allowed users to run external tool commands from within the code using specialized Biopython classes. However, Bio.Application modules and their wrappers have deprecated and will be removed in future Biopython releases. The main reason for this is the high maintenance burden of updating them with the evolving external tools. The recommended approach is to directly construct and execute command-line tool commands using Python’s built-in subprocess module. This method provides flexibility and removes the dependency on the Biopython wrappers. subprocess is a native Python module useful for running ext

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  They're Made Out of Meat

  "They're Made Out of Meat" is a short story by American writer Terry Bisson. It was originally published in OMNI. It consists entirely of dialogue between two characters. Bisson's website hosts a theatrical adaptation. A film adaptation won the Grand Prize at the Seattle Science Fiction Museum's 2006 film festival. The story was collected in the 1993 anthology Bears Discover Fire and Other Stories, and has circulated widely on the Internet, which Bisson found "flattering". It has been quoted in cognitive, cosmological, and philosophical scholarship. == Plot == The two characters are intelligent beings capable of traveling faster than light, on a mission to "contact, welcome and log in any and all sentient races or multibeings in this quadrant of the Universe." Bisson's stage directions represent them as "two lights moving like fireflies among the stars" on a projection screen. One of them tells the incredulous other about the recent discovery of carbon-based lifeforms "made up entirely of meat". After conversing briefly about it, they both deem such beings and communication with them too bizarre and agree to "erase the records and forget the whole thing", marking the Solar System "unoccupied". == Film adaptations == === They're Made out of Meat (2005) === In 2005, Stephen O'Regan wrote and directed a live film adaptation starring Tom Noonan and Ben Bailey. The film was made as a final project for the New York Film Academy. The main action takes place inside a diner full of teenagers in Staten Island, New York. The music for the film was scored by Bob Reynolds. === They're Made out of Meat (2010) === Jeff Frumess and Trevor Scott produced a version in 2010. They added the character of a homeless conspiracy theorist with an original score by musician Sam Belkin. The film was shot at Hartsdale station in Westchester County, New York. === Meat (2021) === Masha Maksimova developed a version in Cinemiracle format, a triple split-screen process, as a student project at the Berlin University of Applied Sciences in the communication design course. The dialogue is conducted by two telepathic humanoid aliens and the thoughts are visualised by found-footage collages.

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  The Eye of Mexico

  The Eye of Mexico (Spanish: El Ojo de México) is an outdoor sculpture in Mexico City. It is located in Ampliación Granada, Miguel Hidalgo, at the mixed-use development Neuchâtel Polanco, developed by the Canadian real estate company Ivanhoé Cambridge. The artwork was created by the Turkish artist Ferdi Alıcı and it was selected from among 350 proposals from artists from 35 countries. The project for The Eye of Mexico was developed by MIRA, a real estate investment and development company, and MASSIVart, a creative consulting agency. According to MIRA, upon its inauguration it became the first artwork in Latin America to use artificial intelligence (AI). The sculpture can read environmental and urban data using AI algorithms and transform the results into videos related to arts, science and technology. The ring was inaugurated on 20 May 2022 and it is 10 meters (33 ft) high and 3 meters (9.8 ft) wide.

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