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Jan D
Jan D
@simulo@hci.social  ·  activity timestamp yesterday
Jan D
Jan D
@simulo@hci.social  ·  activity timestamp yesterday
ASRG
ASRG
@asrg@tldr.nettime.org  ·  activity timestamp 2 days ago
The image is a zine cover with a photograph and text. The title of the book is “AI MUST DIE” in large, bold, black letters on a white background. Below the title is the subtitle “Critical Perspectives on the State of Artificial Intelligence” in smaller, black font. The photograph depicts a white cone-shaped security robot in a pool of water being recovered by two secuirty officers in blue shirts while a woman in a black dress observes. At the bottom of the cover is text reading “Incident 68: Security Robot Drowns Itself in a Fountain” followed by “AI Incident Database (AIID)” and the URL “incidentdatabase.ai”.
The image is a zine cover with a photograph and text. The title of the book is “AI MUST DIE” in large, bold, black letters on a white background. Below the title is the subtitle “Critical Perspectives on the State of Artificial Intelligence” in smaller, black font. The photograph depicts a white cone-shaped security robot in a pool of water being recovered by two secuirty officers in blue shirts while a woman in a black dress observes. At the bottom of the cover is text reading “Incident 68: Security Robot Drowns Itself in a Fountain” followed by “AI Incident Database (AIID)” and the URL “incidentdatabase.ai”.
The image is a zine cover with a photograph and text. The title of the book is “AI MUST DIE” in large, bold, black letters on a white background. Below the title is the subtitle “Critical Perspectives on the State of Artificial Intelligence” in smaller, black font. The photograph depicts a white cone-shaped security robot in a pool of water being recovered by two secuirty officers in blue shirts while a woman in a black dress observes. At the bottom of the cover is text reading “Incident 68: Security Robot Drowns Itself in a Fountain” followed by “AI Incident Database (AIID)” and the URL “incidentdatabase.ai”.
Petra van Cronenburg
Petra van Cronenburg
@NatureMC@mastodon.online  ·  activity timestamp 2 days ago
Alexandre Dulaunoy
Alexandre Dulaunoy
@adulau@infosec.exchange  ·  activity timestamp 2 weeks ago
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Alexandre Dulaunoy
Alexandre Dulaunoy
@adulau@infosec.exchange  ·  activity timestamp 2 weeks ago
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
Fabienne Verdier (born 1962) is a French painter who works in France after years of studies in China. She was the first non-Chinese woman to be awarded a post-graduate diploma in fine arts by the Sichuan Fine Arts Institute in Chongqing, China. The photography was taken by Alexandre Dulaunoy at Poétique de la ligne, exposition de Fabienne Verdier au Domaine de Chaumont-sur-Loire, 2025. I chose an image from Fabienne Verdier’s Poétique de la ligne because it visually echoes the essence of pivoting. Her work is not about representing objects, but about tracing lines that connect forces, movements, and spaces that would otherwise remain separate. A single line can bridge different scales, different energies, and different worlds. This is precisely what pivoting aims to do in intelligence analysis: to trace meaningful lines between data points that appear unrelated at first glance, and to move across technical, human, and contextual domains. Just as Verdier’s line is both deliberate and exploratory, pivoting is an act of disciplined intuition—following a connection far enough to see whether it reveals structure, meaning, or truth. The image serves as a reminder that analysis is not only about accumulation, but about connection: the art of drawing lines where others see fragments.
The Japan Times
The Japan Times
@thejapantimes@mastodon.social  ·  activity timestamp 2 weeks ago
Nick Byrd, Ph.D.
Nick Byrd, Ph.D.
@ByrdNick@nerdculture.de  ·  activity timestamp 3 weeks ago
"the average causal mediation effect of proportion of other-payoffs within-action transitions on the relation between CRT score and proportion of equilibrium responses is statistically significant (p = .002, based on 10000 bootstrap samples), accounting for an estimated 58 % of the total effect between CRT score and proportion of equilibrium responses (Table 4)."
"the average causal mediation effect of proportion of other-payoffs within-action transitions on the relation between CRT score and proportion of equilibrium responses is statistically significant (p = .002, based on 10000 bootstrap samples), accounting for an estimated 58 % of the total effect between CRT score and proportion of equilibrium responses (Table 4)."
"the average causal mediation effect of proportion of other-payoffs within-action transitions on the relation between CRT score and proportion of equilibrium responses is statistically significant (p = .002, based on 10000 bootstrap samples), accounting for an estimated 58 % of the total effect between CRT score and proportion of equilibrium responses (Table 4)."
"In order to explore the type of visual analysis performed by participants, transitions were divided in five major types (Figure 2), following the classification of Devetag and colleagues (2016): 1) own-payoffs within-action transitions: transitions between player’s own payoffs within a single row (necessary to identify the action with the highest average payoff). 2) own-payoffs between-action transitions: .... 3) other-payoffs within-action transitions: ... 4) other-payoffs between-action transitions: transitions between the counterpart’s payoffs within a single row (necessary to identify the presence of counterpart’s dominant choices). 5) intra-cell transitions: transitions between the payoffs of the two players, within the same cell (necessary to compare the two players’ payoffs given a specific combination of choices)."
"In order to explore the type of visual analysis performed by participants, transitions were divided in five major types (Figure 2), following the classification of Devetag and colleagues (2016): 1) own-payoffs within-action transitions: transitions between player’s own payoffs within a single row (necessary to identify the action with the highest average payoff). 2) own-payoffs between-action transitions: .... 3) other-payoffs within-action transitions: ... 4) other-payoffs between-action transitions: transitions between the counterpart’s payoffs within a single row (necessary to identify the presence of counterpart’s dominant choices). 5) intra-cell transitions: transitions between the payoffs of the two players, within the same cell (necessary to compare the two players’ payoffs given a specific combination of choices)."
"In order to explore the type of visual analysis performed by participants, transitions were divided in five major types (Figure 2), following the classification of Devetag and colleagues (2016): 1) own-payoffs within-action transitions: transitions between player’s own payoffs within a single row (necessary to identify the action with the highest average payoff). 2) own-payoffs between-action transitions: .... 3) other-payoffs within-action transitions: ... 4) other-payoffs between-action transitions: transitions between the counterpart’s payoffs within a single row (necessary to identify the presence of counterpart’s dominant choices). 5) intra-cell transitions: transitions between the payoffs of the two players, within the same cell (necessary to compare the two players’ payoffs given a specific combination of choices)."
"Nash equilibrium is a game solution in which none of the players has a self-interested incentive to deviate from its own strategy after considering the counterpart’s choice. In Experiment 1, we used a particular class of game called dominance-solvable. These games contain an option which is better than another one for a player, independently of the action the counterpart will take. We refer to this option as a dominant strategy.3 In Experiment 1, we used two classes of dominance-solvable games characterized by different equilibrium structures, creating sixteen 2x2 games for each class (for a full list of game matrices, see Figure A1 in section A.1, Appendices). The two classes of games (Figure 1) were: (1) dominance solvable “self” games (DSS), in which only the participant had a strictly dominant strategy; (2) dominance solvable “other” games (DSO), in which only the opponent had a strictly dominant strategy."
"Nash equilibrium is a game solution in which none of the players has a self-interested incentive to deviate from its own strategy after considering the counterpart’s choice. In Experiment 1, we used a particular class of game called dominance-solvable. These games contain an option which is better than another one for a player, independently of the action the counterpart will take. We refer to this option as a dominant strategy.3 In Experiment 1, we used two classes of dominance-solvable games characterized by different equilibrium structures, creating sixteen 2x2 games for each class (for a full list of game matrices, see Figure A1 in section A.1, Appendices). The two classes of games (Figure 1) were: (1) dominance solvable “self” games (DSS), in which only the participant had a strictly dominant strategy; (2) dominance solvable “other” games (DSO), in which only the opponent had a strictly dominant strategy."
"Nash equilibrium is a game solution in which none of the players has a self-interested incentive to deviate from its own strategy after considering the counterpart’s choice. In Experiment 1, we used a particular class of game called dominance-solvable. These games contain an option which is better than another one for a player, independently of the action the counterpart will take. We refer to this option as a dominant strategy.3 In Experiment 1, we used two classes of dominance-solvable games characterized by different equilibrium structures, creating sixteen 2x2 games for each class (for a full list of game matrices, see Figure A1 in section A.1, Appendices). The two classes of games (Figure 1) were: (1) dominance solvable “self” games (DSS), in which only the participant had a strictly dominant strategy; (2) dominance solvable “other” games (DSO), in which only the opponent had a strictly dominant strategy."
The Japan Times
The Japan Times
@thejapantimes@mastodon.social  ·  activity timestamp 3 weeks ago
The Japan Times
The Japan Times
@thejapantimes@mastodon.social  ·  activity timestamp 3 weeks ago
Nate Gaylinn
Nate Gaylinn
@ngaylinn@tech.lgbt  ·  activity timestamp last month
vruz boosted
Nonilex
Nonilex
@Nonilex@masto.ai  ·  activity timestamp last month
Miguel Afonso Caetano
Miguel Afonso Caetano
@remixtures@tldr.nettime.org  ·  activity timestamp last month
Nonilex
Nonilex
@Nonilex@masto.ai  ·  activity timestamp last month
Nonilex
Nonilex
@Nonilex@masto.ai  ·  activity timestamp last month
Nate Gaylinn
Nate Gaylinn
@ngaylinn@tech.lgbt  ·  activity timestamp last month
Nonilex
Nonilex
@Nonilex@masto.ai  ·  activity timestamp last month
Petra van Cronenburg
Petra van Cronenburg
@NatureMC@mastodon.online  ·  activity timestamp 2 months ago