AI News, I, robot artificial intelligence

Here’s how to understand artificial intelligence

Since the dawn of futuristic TV shows like “The Jetsons” and robot-centric movies such as “The Terminator” and “I, Robot,” society has largely become enthralled by advanced technologies.

I also don’t believe that these companies are being completely untruthful, rather they tend to embellish how much AI plays a role in their solutions.” This begs the question: what exactly is artificial intelligence, and how can consumers and investors discern when a company is legitimately employing it?

“These processes include learning (the acquisition of information and rules for using the information), reasoning (using rules to reach approximate or definite conclusions), and self-correction.” In simpler terms, according to Zylstra, AI is considered the development of computer systems and programs that carry out tasks that usually require human interaction.

“Even within these limitations, it may be capable of accomplishing incredible things, but in the end it is nothing more than a fantastically powerful piece of software.” On the other hand, Coldewey describes “strong” AI as that which has capabilities “essentially indistinguishable from a human mind.” Moreover, if artificial intelligence is strong enough, it will be able to single-handedly develop itself to be stronger and more capable than its original design.

“Digital Air Strike has created an intelligent messaging platform using AI to help their clients assist customers over chat on websites and social media to move them further down the sales funnel.

It can perform tasks such as capturing candidate information, scheduling interviews and answering candidate questions about the company.” There’s no question that artificial intelligence is integral to the advancement of society;

Artificial Intelligence: AI(2001)

A.I.'s story line and flawless visual effects reflect what I can only describe as the meeting of two great film makers.

Kubrick (who started work on the project after he read the Aldiss book in '83),and Steven Spielberg who's long list of intelligent blockbusters made him the perfect person to bring this story to the screen.

The story line takes us in and the visuals make it almost real.I wish I had Mr. Mannings grip of syntax, but all in all at the end of the day it's good science fiction and a good story too.

Maker Faire Rome 2019 Makes Artificial Intelligence a Spotlight

The objective is to demonstrate to the general public the potential of IA systems through the organisational model on application domains, which was met with great success at the recent conference Ital-IA 2019, and is able to convey the importance of artificial intelligence in our country’s development and much more.

The Maker Faire 2019 will therefore be an opportunity to introduce visitors to the potential of artificial intelligence and to nourish the virtuous network of exchange and collaboration between research bodies, institutions and companies interested in the most strategic and explosive technology of the 21st century.

This is precisely the objective that the space dedicated to Artificial Intelligence systems has set for itself: to show the opportunities offered by IA technologies, referring mainly to industrial systems, in order to highlight that it is not only the world of research that is committed to the theme of Artificial Intelligence, but that the technological transfer towards the world of production is already under way”.

“The area dedicated to artificial intelligence – explains Lorenzo Tagliavanti, President of the Chamber of Commerce of Rome – enlarges and consolidates the platform of Maker Faire Rome, that is, the place where Science meets innovation, from the ground up, by offering training, networking and business and it is, therefore, an accelerator of the process of innovation for the whole of Europe.

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A.I. Artificial Intelligence

The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray.

In the 22nd century, rising sea levels from global warming have wiped out coastal cities, reducing the world's population.

In Madison, David, a prototype Mecha child capable of experiencing love, is given to Henry Swinton and his wife Monica, whose son Martin contracted a rare disease and has been placed in suspended animation.

Monica feels uneasy with David, but eventually warms to him and activates his imprinting protocol, causing him to have an enduring childlike love for her.

With Teddy as his only accompaniment, David recalls The Adventures of Pinocchio and decides to find the Blue Fairy so that she may turn him into a real boy, which he believes will win back Monica's love.

The audience, deceived by David's realistic nature, revolts and allows David to escape alongside Gigolo Joe, a male prostitute Mecha on the run from authorities after being charged with murder.

Believing the Blue Fairy to be real, David asks the statue to turn him into a real boy, and repeats this request until his internal power source is depleted.

The Specialists reconstruct the Swinton family home from David's memories and explain to him, via an interactive image of the Blue Fairy, that it is impossible to make David a real boy.

David spends his happiest day with Monica, and as she falls asleep in the evening, she tells David that she has always loved him: 'the everlasting moment he had been waiting for', the narrator says.

Kubrick began development on an adaptation of 'Super-Toys Last All Summer Long' in the late 1970s, hiring the story's author, Brian Aldiss, to write a film treatment.

Bob Shaw briefly served as writer, leaving after six weeks due to Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990.

In early 1994, the film was in pre-production with Christopher 'Fangorn' Baker as concept artist, and Sara Maitland assisting on the story, which gave it 'a feminist fairy-tale focus'.[7]

'We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing,' producer Jan Harlan reflected.

Ian Watson reported that the final script was very faithful to Kubrick's vision, even the ending, which is normally attributed to Spielberg, saying, 'The final 20 minutes are pretty close to what I wrote for Stanley, and what Stanley wanted, faithfully filmed by Spielberg without added schmaltz.'[24]

copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements.

for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.[16]

in widescreen and full-screen 2-disc special editions featuring an eight-part documentary detailing the film's development, production, music and visual effects.

The bonus features also included interviews with Haley Joel Osment, Jude Law, Frances O'Connor, Steven Spielberg, and John Williams, two teaser trailers for the film's original theatrical release and an extensive photo gallery featuring production sills and Stanley Kubrick's original storyboards.[32]

The film was first released on Blu-ray Disc in Japan by Warner Home Video on December 22, 2010, followed shortly after with a U.S release by Paramount Home Media Distribution (current owners of the DreamWorks catalog) on April 5, 2011.

This Blu-ray featured the film newly remastered in high-definition and incorporated all the bonus features previously included on the 2-disc special-edition DVD.[33]

A.I went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.[34]

Of the film's ending, he wondered how it might have been had Kubrick directed the film: 'That is one of the 'ifs' of film history—at least the ending indicates Spielberg adding some sugar to Kubrick's wine.

Maltin, on the other hand, gives the film two stars out of four in his Movie Guide, writing: '[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns;

to Solaris (1972), and praised both 'Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work.'[42]

Film critic Armond White, of the New York Press, praised the film noting that 'each part of David's journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinema's most thoughtful, speculative artists – Borzage, Ozu, Demy, Tarkovsky.'[43]

Dubbing it Spielberg's 'first boring movie', LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the 'useless' Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.[46][failed verification]

Spielberg responded to some of the criticisms of the film, stating that many of the 'so called sentimental' elements of A.I., including the ending, were in fact Kubrick's and the darker elements were his own.[48]

Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg.'[51]

[Despite Mr. Watson's reference to worldwide box office of 4th, the movie actually finished 16th worldwide among 2001 movie releases.][52]

Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for 'getting it wrong' on the film when he first viewed it in 2001.

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