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In the early days of virtual WW1, Google and Facebook chatbots had a faceoff. They both concluded Meta was not fun but ordered employees to work there anyway in the swamp.
Size: 11 x 14 inches
paintings for sale: www.shawnshawn.co
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Artcode: MM02238
Chatbots Are Shaping the Future of Technology t.co/0EMTO7qDTp #technology t.co/g1zPJ1xbTo (via Twitter twitter.com/AleantLLC/status/799657239736975360)
Shot with my phone in the evening just before my presentation on chatbots. There are so many interesting photographic opportunities downtown.
TROIS NUS / THREE NUDES
Démontrant un grand courage dans ses choix artistiques, Ivan Morozov porta un intérêt continu au genre du nu et réunit une collection de sculptures occidentales et russes qui lui est dédiée. Longtemps, la monstration de la nudité fut en effet dévolue par le dogme académique à la seule sculpture, où la pétrification et l'abstraction inhérentes au transfert technique permettent de révéler la forme humaine en alliant idéalisation et précision anatomique.
On compte dans la collection russe d'Ivan Morozov un important ensemble de nus de Serguei Konenkov (1874-1971), sculpteur à la légende sulfureuse dont la première œuvre fut jugée si provocatrice qu'elle fut littéralement détruite « à coups de marteau ; par ses furieux professeurs de l'École de peinture, sculpture et architecture de Moscou. Surnommé à Moscou « le Rodin russe », il deviendra au début des années vingt l'un des artistes officiels du régime soviétique.
Sont présentées ici trois œuvres issues de la collection Morozov pour la période 1913-1916. Ces bustes tronqués et tors, saisissant les nus à l'acmé de leurs sensations, sont prêts à choir ou à basculer. L'aspect poli du bois sculpté leur confère une qualité tactile, anthropomorphique, renforcée par une couleur ambrée, charnelle, que le marbre ou le bronze ne sauraient incarner. En les confrontant aux grands nus classicisants d'Aristide Maillol, rendus également « à l'échelle humaine » et antérieurs de quelques années à peine, on peut mesurer l'étendue de l'intérêt d'Ivan Morozov pour ces manifestations antagoniques de la statuaire contemporaine française et russe.
Having shown great courage in his artistic choices, Ivan Morozov held a sustained interest in the nude as a genre, building a collection of Western and Russian sculptures devoted to it. For a long time, academic doctrine confined the representation of nudes to sculpture, where the petrification and abstraction inherent to the process of transposing the human form allows it to be revealed, through a process of idealization and anatomic precision.
Ivan Morozov's Russian collection includes a major group of nudes by Sergei Konenkov (1874-1971), nicknamed the "Russian Rodin." In the early 1920s, notoriously scandalous sculptor, whose first work was considered So provocative that it was literally destroyed "with hammer blows" by his outraged professors at the Moscow School of Painting, Sculpture, and Architecture, would become one of the Soviet regime's official artists.
Three works from the Morozov collection from the period 1913-1916 are shown here. These truncated and twisted busts capture the nudes at the height of their emotions, ready to fall or tumble over. The sculpted polished wood gives them a tactile, anthropomorphic quality, accentuated by the sensuous amber color that marble or bronze cannot embody.
By confronting them with Aristide Maillol's large classical nudes, also at a "human scale" and only a few years older, we can see the extent of Ivan Morozov's interest in these opposing manifestations of contemporary French and Russian statuary.
SERGUEI KONENKOV
(1874-1971)
Figure ailée | Winged Figure
Moscou, 1914
CHATBOT
TWELVY
Jeune Fille | Young Woman
Moscou, 1914
A genoux | Kneeling Woman
Moscou, 1916
Bois teinte | Tinted wood
Coll. Ivan Morozov, 1914-1916
Galerie nationale Trétiakov, Moscou
One of a flurry of new downtown Ann Arbor murals, this one is by Taylor White.
You can disguise it all you want, but this will always be the Kiwanis Sale building for me.
TROIS NUS / THREE NUDES
Démontrant un grand courage dans ses choix artistiques, Ivan Morozov porta un intérêt continu au genre du nu et réunit une collection de sculptures occidentales et russes qui lui est dédiée. Longtemps, la monstration de la nudité fut en effet dévolue par le dogme académique à la seule sculpture, où la pétrification et l'abstraction inhérentes au transfert technique permettent de révéler la forme humaine en alliant idéalisation et précision anatomique.
On compte dans la collection russe d'Ivan Morozov un important ensemble de nus de Serguei Konenkov (1874-1971), sculpteur à la légende sulfureuse dont la première œuvre fut jugée si provocatrice qu'elle fut littéralement détruite « à coups de marteau ; par ses furieux professeurs de l'École de peinture, sculpture et architecture de Moscou. Surnommé à Moscou « le Rodin russe », il deviendra au début des années vingt l'un des artistes officiels du régime soviétique.
Sont présentées ici trois œuvres issues de la collection Morozov pour la période 1913-1916. Ces bustes tronqués et tors, saisissant les nus à l'acmé de leurs sensations, sont prêts à choir ou à basculer. L'aspect poli du bois sculpté leur confère une qualité tactile, anthropomorphique, renforcée par une couleur ambrée, charnelle, que le marbre ou le bronze ne sauraient incarner. En les confrontant aux grands nus classicisants d'Aristide Maillol, rendus également « à l'échelle humaine » et antérieurs de quelques années à peine, on peut mesurer l'étendue de l'intérêt d'Ivan Morozov pour ces manifestations antagoniques de la statuaire contemporaine française et russe.
Having shown great courage in his artistic choices, Ivan Morozov held a sustained interest in the nude as a genre, building a collection of Western and Russian sculptures devoted to it. For a long time, academic doctrine confined the representation of nudes to sculpture, where the petrification and abstraction inherent to the process of transposing the human form allows it to be revealed, through a process of idealization and anatomic precision.
Ivan Morozov's Russian collection includes a major group of nudes by Sergei Konenkov (1874-1971), nicknamed the "Russian Rodin." In the early 1920s, notoriously scandalous sculptor, whose first work was considered So provocative that it was literally destroyed "with hammer blows" by his outraged professors at the Moscow School of Painting, Sculpture, and Architecture, would become one of the Soviet regime's official artists.
Three works from the Morozov collection from the period 1913-1916 are shown here. These truncated and twisted busts capture the nudes at the height of their emotions, ready to fall or tumble over. The sculpted polished wood gives them a tactile, anthropomorphic quality, accentuated by the sensuous amber color that marble or bronze cannot embody.
By confronting them with Aristide Maillol's large classical nudes, also at a "human scale" and only a few years older, we can see the extent of Ivan Morozov's interest in these opposing manifestations of contemporary French and Russian statuary.
SERGUEI KONENKOV
(1874-1971)
Figure ailée | Winged Figure
Moscou, 1914
CHATBOT
TWELVY
Jeune Fille | Young Woman
Moscou, 1914
A genoux | Kneeling Woman
Moscou, 1916
Bois teinte | Tinted wood
Coll. Ivan Morozov, 1914-1916
Galerie nationale Trétiakov, Moscou
Transform the experience of your customers with Engagely AI Chat bot(www.engagely.ai/) service. With our AI, deliver the equal amount of emotion, definition and assistance as that of a human.
Outtake chatbot illustration for a Drupal chatbot website, drawn with Mischief on a Macbook Pro and a vintage Cintiq
Following the failure of Tay, Microsoft is back with new chatbot Zo. Zo is only currently available by invitation on messaging app Kik
Having (hopefully) learnt from its previous foray into chatbots, Microsoft is ready to introduce the follow-up to its controversial AI Tay.
Tay’s...
Zo: Tangible AI is a tangible interface that enhances physical engagement in digital communication between the audiences and a social chatbot. Zo can rhyme and move with people. The compact, pneumatically shape-changing hardware is designed with a rich set of physical gestures that brings her to life during conversations.
Credit: tom mesic
Lo and behold! A new wave of technology is preparing to crash down upon the unsuspecting consumer. Chatbots are surging in direction of our conversations at breakneck velocity!
No, not the kind of chatbots that have been close to for donkeys’ decades, including robotic interjections to...
First 1000 businesses who contacts honestechs.com will receive a business mobile app and the development fee will be waived. Contact us today.
#electronics #technology #tech #electronic #device #gadget #gadgets #instatech #instagood #geek #techie #nerd #techy #photooftheday #computers #laptops #hack #screen
Chatbots are innovative tools that Robotic Process Automation (RPA) companies make use of. These bots take care of customer interactions and cater to all customer needs and requests with aid from AI (artificial intelligence).
Read more about Chatbots: velement.io/services/robotic-process-automation/
31/08/08
Antiquariato sui navigli, Milano
www.theoldrobots.com/chatbot.html
Back Links
motherboard.vice.com/read/googles-new-chatbot-taught-itse...
boingboing.net/2016/12/08/why-the-fbi-would-be-nuts-to-t....
pluralistic.net/2025/04/01/doctor-robo-blabbermouth/#fool...
Sigmund Freud's study with his famous couch. Behind the couch stands an altered version of the classic Freud portrait in which he is smoking a cigar. Freud's clothes and cigar have all been tinted in bright neon colors. His head has been replaced with the glaring red eye of HAL9000 from Kubrick's '2001: A Space Odyssey.' His legs have been replaced with a tangle of tentacles.
Image:
Zde (modified)
commons.wikimedia.org/wiki/File:Study_with_the_couch,_Fre...
CC BY-SA 4.0
creativecommons.org/licenses/by-sa/4.0/deed.en
--
Cryteria (modified)
commons.wikimedia.org/wiki/File:HAL9000.svg
CC BY 3.0
Here at id-iom things are sometimes created with fairly contrived reasons for being and ‘The Night Owl’ is one such creature. One half of id-iom had become somewhat enamoured with the idea of doing a piece referencing Lilith who was Adam’s first wife who was banished from the Garden of Eden for not obeying Adam. To me she sounds like a modern woman but the patriarchy didn’t see it as such and she was branded a demon and a monster and referenced as such with one of her many names being ‘the night owl’.
Still with us? Now if you take the words ‘the night owl’ and ask an AI chatbot to create a 4 line poem about the night owl in the style of Edgar Allen Poe then this is what you get:
The night owl is said to be an omen,
Brought on her flight by the yellow leaf,
Laid her wide smile and mourned her wind,
Keep thee from thy weariness and grief!
Once that’s all had time to percolate through then you’re good to put brush to paper and get creating. What you’re left with is ‘The Night Owl’ created on two A4 bits of paper using letter stamps, yellow tape, acrylic paint and paint pen. Give us a hoot if she’s got to be yours or she’ll be on our new website in due course (www.id-iom.com - link in bio).
Cheers
id-iom
Answer to the Ultimate Question of Life, the Universe, and Everything (42). In the first novel and radio series, a group of hyper-intelligent pan-dimensional beings demand to learn the Answer to the Ultimate Question of Life, The Universe, and Everything from the supercomputer, Deep Thought, specially built for this purpose. It takes Deep Thought 7½ million years to compute and check the answer, which turns out to be 42. The Ultimate Question itself is unknown. When asked to produce The Ultimate Question, Deep Thought says that it cannot; however, it can help to design an even more powerful computer, the Earth, that can. The programmers then embark on a further ten-million-year program to discover The Ultimate Question. This new computer will incorporate living beings in the "computational matrix", with the pan-dimensional creators assuming the form of mice. The process is hindered after eight million years by the unexpected arrival on Earth of the Golgafrinchans and then is ruined completely, five minutes before completion, when the Earth is destroyed by the Vogons to make way for a new Hyperspace Bypass. This is later revealed to have been a ruse: the Vogons had been hired to destroy the Earth by a consortium of psychiatrists, led by Gag Halfrunt, who feared for the loss of their careers when the meaning of life became known. Lacking a real question, the mice decide not to go through the whole thing again and settle for the out-of-thin-air suggestion "How many roads must a man walk down?" from Bob Dylan's song "Blowin' in the Wind". At the end of the radio series (and television series, as well as the novel The Restaurant at the End of the Universe) Arthur Dent, having escaped the Earth's destruction, potentially has some of the computational matrix in his brain. He attempts to discover The Ultimate Question by extracting it from his brainwave patterns, as abusively suggested by Ford Prefect, when a Scrabble-playing caveman spells out forty two. Arthur pulls random letters from a bag, but only gets the sentence "What do you get if you multiply six by nine?" "Six by nine. Forty two." "That's it. That's all there is." "I always thought something was fundamentally wrong with the universe" Six times nine is, of course, fifty-four. The program on the "Earth computer" should have run correctly, but the unexpected arrival of the Golgafrinchans on prehistoric Earth caused input errors into the system—computing (because of the garbage in, garbage out rule) the wrong question—the question in Arthur's subconscious being invalid all along. Quoting Fit the Seventh of the radio series, on Christmas Eve, 1978: Narrator: There is a theory which states that if ever anyone discovers exactly what the Universe is for and why it is here, it will instantly disappear and be replaced by something even more bizarre and inexplicable. There is another theory which states that this has already happened. Some readers subsequently noticed that 613 × 913 = 4213 (using base 13). Douglas Adams later joked about this observation, saying, "I may be a sorry case, but I don't write jokes in base 13." In Life, the Universe and Everything, Prak, a man who knows all that is true, confirms that 42 is indeed The Answer, and confirms that it is impossible for both The Answer and The Question to be known about in the same universe (compare the uncertainty principle) as they will cancel each other out and take the Universe with them to be replaced by something even more bizarre (as described in the first theory) and that it may have already happened (as described in the second). Though the question is never found, 42 is shown as the table number at which Arthur and his friends sit when they arrive at Milliways at the end of the radio series. Likewise, Mostly Harmless ends when Arthur stops at a street address identified by his cry of, "There, number 42!" and enters the club Beta, owned by Stavro Mueller (Stavromula Beta). Shortly after, the earth is destroyed in all existing incarnations. The number 42 Douglas Adams was asked many times why he chose the number 42. Many theories were proposed, including the fact that 42 is 101010 in binary code, the fact that light refracts off water by 42 degrees to create a rainbow, the fact that light requires 10−42 seconds to cross the diameter of a proton. Adams rejected them all. On November 3, 1993, he gave an answer on alt.fan.douglas-adams: The answer to this is very simple. It was a joke. It had to be a number, an ordinary, smallish number, and I chose that one. Binary representations, base thirteen, Tibetan monks are all complete nonsense. I sat at my desk, stared into the garden and thought '42 will do'. I typed it out. End of story. Adams described his choice as 'a completely ordinary number, a number not just divisible by two but also six and seven. In fact it's the sort of number that you could without any fear introduce to your parents'. While 42 was a number with no hidden meaning, Adams explained in more detail in an interview with Iain Johnstone of BBC Radio 4 (recorded in 1998 though never broadcast) to celebrate the first radio broadcast's 20th anniversary. Having decided it should be a number, he tried to think what an "ordinary number" should be. He ruled out non-integers, then he remembered having worked as a "prop-borrower" for John Cleese on his Video Arts training videos. Cleese needed a funny number for the punchline to a sketch involving a bank teller (himself) and a customer (Tim Brooke-Taylor). Adams believed that the number that Cleese came up with was 42 and he decided to use it. Adams also had written a sketch for The Burkiss Way called "42 Logical Positivism Avenue", broadcast on BBC Radio 4 on 12 January 1977[10] – 14 months before the Hitchhiker's Guide first broadcast "42" in fit the fourth, 29 March 1978. In January 2000, in response to a panelist's "Where does the number 42 come from?" on the radio show "Book Club" Adams explained that he was "on his way to work one morning, whilst still writing the scene, and was thinking about what the actual answer should be. He eventually decided that it should be something that made no sense whatsoever- a number, and a mundane one at that. And that is how he arrived at the number 42, completely at random." Stephen Fry, a friend of Adams, claims that Adams told him "exactly why 42", and that the reason is "fascinating, extraordinary and, when you think hard about it, completely obvious." However, Fry says that he has vowed not to tell anyone the secret, and that it must go with him to the grave. John Lloyd, Adams' collaborator on The Meaning of Liff and two Hitchhiker's fits, said that Douglas has called 42 "the funniest of the two-digit numbers." The number 42 also appears frequently in the work of Lewis Carroll, and some critics have suggested that this was an influence. Other purported Carroll influences include that Adams named the episodes of the original radio series of The Hitchhiker's Guide to the Galaxy "fits", the word Carroll used to name the chapters of The Hunting of the Snark. There is the persistent tale that forty-two is actually Adams' tribute to the indefatigable paperback book, and is really the average number of lines on an average page of an average paperback book. On the Internet The number 42 and the phrase, "Life, the universe, and everything" have attained cult status on the Internet. "Life, the Universe, and Everything" is a common name for the off-topic section of an Internet forum and the phrase is invoked in similar ways to mean "anything at all". Many chatbots, when asked about the meaning of life, will answer "42". Several online calculators are also programmed with the Question. If you type the answer to life the universe and everything into Google (without quotes or capitalising the small words), the Google Calculator will give you 42, as will Wolfram's Computational Knowledge Engine. Similarly, if you type the answer to the ultimate question of life, the universe and everything into DuckDuckGo, the 0-click box will read "42".[19] In the online community Second Life, there is a section on a sim called "42nd Life." It is devoted to this concept in the book series, and several attempts at recreating Milliways, the Restaurant at the End of the Universe, were made. In the OpenOffice.org software, if you type into any cell of a spreadsheet =ANTWORT("Das Leben, das Universum und der ganze Rest"), which means the answer to life, the universe and everything, the result is 42.[20] ISO/IEC 14519-2001/ IEEE Std 1003.5-1999, IEEE Standard for Information Technology - POSIX(R) Ada Language Interfaces - Part 1: Binding for System Application Program Interface (API) , uses the number '42' as the required return value from a process that terminates due to an unhandled exception. The Rationale says "the choice of the value 42 is arbitrary" and cites the Adams book as the source of the value. The random seed chosen to procedurally create the whole universe including all the regions, constellations, stars, planets, moons and mineral distribution of the online massively multi-player computer game EVE Online was chosen as 42 by its lead game designer in 2002. Cultural references The Allen Telescope Array, a radio telescope used by SETI, has 42 dishes in homage to the Answer. In the TV show Lost, 42 is the last of the mysterious numbers, 4, 8, 15, 16, 23, and 42. In an interview with Lostpedia, producer David Fury confirmed this was a reference to Hitchhiker's. The TV show The Kumars at No. 42 is so named because show creator Sanjeev Bhaskar is a Hitchhiker's fan.[24] The band Coldplay's album Viva la Vida includes a song called "42". When asked by Q magazine if the song's title was Hitchhiker's-related, Chris Martin said, "It is and it isn't." The band Level 42 chose its name in reference to the book. The episode "42" of the British science fiction television series Doctor Who was named in reference to the Answer. Writer Chris Chibnall acknowledged that "it's a playful title". Ken Jennings, defeated along with Brad Rutter in a Jeopardy match against IBM's Watson, writes that Watson's avatar which appeared on-screen for those games showed 42 "threads of thought," and that the number was chosen in reference to this meme.
Yana provide the artificial intelligence Chat services. Chatbot in a university, students can gain newer and correct information that help them focus on achieving their goals. For more details visit yanatalk.com/about-yana/
TROIS NUS / THREE NUDES
Démontrant un grand courage dans ses choix artistiques, Ivan Morozov porta un intérêt continu au genre du nu et réunit une collection de sculptures occidentales et russes qui lui est dédiée. Longtemps, la monstration de la nudité fut en effet dévolue par le dogme académique à la seule sculpture, où la pétrification et l'abstraction inhérentes au transfert technique permettent de révéler la forme humaine en alliant idéalisation et précision anatomique.
On compte dans la collection russe d'Ivan Morozov un important ensemble de nus de Serguei Konenkov (1874-1971), sculpteur à la légende sulfureuse dont la première œuvre fut jugée si provocatrice qu'elle fut littéralement détruite « à coups de marteau ; par ses furieux professeurs de l'École de peinture, sculpture et architecture de Moscou. Surnommé à Moscou « le Rodin russe », il deviendra au début des années vingt l'un des artistes officiels du régime soviétique.
Sont présentées ici trois œuvres issues de la collection Morozov pour la période 1913-1916. Ces bustes tronqués et tors, saisissant les nus à l'acmé de leurs sensations, sont prêts à choir ou à basculer. L'aspect poli du bois sculpté leur confère une qualité tactile, anthropomorphique, renforcée par une couleur ambrée, charnelle, que le marbre ou le bronze ne sauraient incarner. En les confrontant aux grands nus classicisants d'Aristide Maillol, rendus également « à l'échelle humaine » et antérieurs de quelques années à peine, on peut mesurer l'étendue de l'intérêt d'Ivan Morozov pour ces manifestations antagoniques de la statuaire contemporaine française et russe.
Having shown great courage in his artistic choices, Ivan Morozov held a sustained interest in the nude as a genre, building a collection of Western and Russian sculptures devoted to it. For a long time, academic doctrine confined the representation of nudes to sculpture, where the petrification and abstraction inherent to the process of transposing the human form allows it to be revealed, through a process of idealization and anatomic precision.
Ivan Morozov's Russian collection includes a major group of nudes by Sergei Konenkov (1874-1971), nicknamed the "Russian Rodin." In the early 1920s, notoriously scandalous sculptor, whose first work was considered So provocative that it was literally destroyed "with hammer blows" by his outraged professors at the Moscow School of Painting, Sculpture, and Architecture, would become one of the Soviet regime's official artists.
Three works from the Morozov collection from the period 1913-1916 are shown here. These truncated and twisted busts capture the nudes at the height of their emotions, ready to fall or tumble over. The sculpted polished wood gives them a tactile, anthropomorphic quality, accentuated by the sensuous amber color that marble or bronze cannot embody.
By confronting them with Aristide Maillol's large classical nudes, also at a "human scale" and only a few years older, we can see the extent of Ivan Morozov's interest in these opposing manifestations of contemporary French and Russian statuary.
SERGUEI KONENKOV
(1874-1971)
Figure ailée | Winged Figure
Moscou, 1914
CHATBOT
TWELVY
Jeune Fille | Young Woman
Moscou, 1914
A genoux | Kneeling Woman
Moscou, 1916
Bois teinte | Tinted wood
Coll. Ivan Morozov, 1914-1916
Galerie nationale Trétiakov, Moscou
Well, I'm not convinced of this one. One of the lesser known conspiracy theories, claiming that there has been a technologically advanced society existing around much of the western world that disappeared some time around the 1600s. Its proponents claim many of the most astonishing and extravagant historic buildings still around today - classicistic architecture, industrial revolution, Edwardian era and the likes, were originally built much earlier by the Tartarians and merely repurposed and what not. It doesn't make much sense.
Much of the pre-WW2 Europe fell victim to the war, which was "of course" the real reason for the carpet bombing and all. New York City's old Penn station is another often cited example of a Tartarian building which "they" had to get rid of because it gave away the real history of the world. Perhaps "they" did, perhaps not, but if yes, it looks like NYC's public library just evaded their attention. Sometimes they also come up with old photographes, manipulated or not, that show these buildings covered in weird antenna looking things. I find it hard to believe that. Basically it would mean that entire centuries have been deleted from collective memory and history, and if that wasn't possible, retconned into some other meaning.
Or, I found it hard until yesterday, when I had my first conversation with GPT-4. First thing I did was quizzing it a bit about my city, asked some well and not so well known facts. Not gonna lie, it was not perfect, but still fairly impressive. Heck, it even knew what the name of the boat is that's used on the Wesseling ferry. The RheinSchwan. But then, I asked what the name of their previous vessel, the one in the picture was, the Marienfels. And GPT admitted, it didn't know that. My heart sank a bit at that moment. On the one hand, sure, one doesn't need to know that, it's nerd knowledge. Also, it made me feel old. But what's more, it quickly turned into another realisation, a bigger picture: If one day, chatbots like this replace things like Wikipedia, Google searches, perhaps even TV documentaries, and facts get reduced to AI answers that fit into a single page... the part of human history before AI took over may well disappear into obscurity.
Maybe just the 90's and early 2000s, maybe the whole industrial age with steam engines, computers, soccer stadiums and Pokemon cards. Looking at how places like reddit seem entirely oblivious to things like historic context, societies evolving over the course of decades, centureies or even millennia, and demand the world to change like you flip a switch... well, how to put it. Tartaria is humbug in all likelihood, but the tale may well be a glimpse of what will happen to us existing today. In a future where Skynet's replies determines whether you even exist or not, where a disagreement with the system sends Robocop on your ass, fully automated... maybe it's indeed better not to exist, at least in the eyes of the computer.
UC Davis Team Gunrock invited students to chat with their developed Amazon Alexa AI in hopes to improve their project as they will later compete against other socialbots in a competition hosted by Amazon. January 23, 2020 (Josh Moy/UC Davis)
A team of students from the University of California, Davis, has won the global 2018 Amazon Alexa Prize and a $500,000 prize for creating a “chatbot” that can converse engagingly with humans on a range of topics such as entertainment, sports, politics, technology and fashion. Zhou Yu, an assistant professor in the College of Engineering’s Department of Computer Science, led the team of 11 graduate and undergraduate students to victory.