The AsoSoft text corpus is the first large-scale Kurdish text corpus, collected and processed by the AsoSoft research and development group. It contains 458,000 documents (188 million tokens) that are collected from sources such as websites, news agencies, books, and magazines. The corpus is partially tagged by topic, so it can be used for topic identification tasks. Also, it is applicable for extracting language model and computational lexicon information. Part of the corpus (75 million tokens) is available online for non-commercial use. The corpus uses the TEI format.
Joseph Stanislaus Ostoja-Kotkowski
Joseph Stanislaus Ostoja-Kotkowski AM, FRSA (also known as J. S. Ostoja-Kotkowski, Ostoja and Stan Ostoja-Kotkowski; 28 December 1922 – 2 April 1994) was best known for his ground-breaking work in chromasonics, laser kinetics and 'sound and image' productions. He earned recognition in Australia and overseas for his pioneering work in laser sound and image technology. His work included painting (instrumental in developing geometric art in Australia), photography, film-making, theatre design, fabric design, murals, kinetic and static sculpture, stained glass, vitreous enamel murals, op-collages, computer graphics, and laser art. Ostoja flourished between 1940 and 1994. Ostoja's films are still being exhibited. == Biography == Joseph Stanislaus Ostoja-Kotkowski was born in Golub, Poland, on 28 December 1922, descending from an old noble family that was part of the Clan of Ostoja. He studied drawing under Olgierd Vetesco in Przasnysz from 1940-1945. After winning a scholarship, he completed his studies at the Düsseldorf Academy of Fine Arts in Germany in 1949. In 1950 Ostoja migrated to Australia, arriving in Melbourne where he supported himself with work as a labourer. He enrolled at the Victorian School of Fine Arts National Gallery School under Alan Sumner and William Dargie 1950-1955 and there introduced the new abstract expression of Europe both to lecturers and students. He settled in the Adelaide Hills, South Australia, on the Booth estate at Stirling, living under the patronage of the Booth family for over 40 years (Freya Booth, the wife of Edward Stirling Booth, was a daughter of the artist Sir Hans Heysen). His first one-man exhibition was also in South Australia at the Royal Society of Arts, Adelaide. In 1956 Ostoja met and collaborated with Ian Davidson in the production of the short film Five South Australian Artists, and became involved in stage and theatre set design. He co-produced several experimental films again with Ian Davidson, including The Quest of Time in 1957 Ostoja's work in abstract expression began to receive accolades. He won the Cornell Prize for the canvas Form in Landscape. He started to design sets for theatre and dance including for Six Characters in Search of an Author by Luigi Pirandello (1957); the South Australian production of Samuel Beckett's Waiting for Godot (1958); Gaetano Donizetti's Elixir of Love, with novel light settings and modulations, for the Elder Conservatorium of the University of Adelaide which used his techniques for their Opera Workshops (1959); for The Egg; and for two performances of the South Australian Ballet Theatre with light/colour abstract presentations (1959). 1960 This year he designed sets for a new opera group which would eventually grow into the South Australian Opera Company. Among other theatrical events, he designed and executed the scenery for Moon on a Rainbow Shawl by Errol John, and The Teahouse of the August Moon by John Patrick, (a production by the University of Adelaide Theatre Guild). He received artistic satisfaction but little financial reward for these efforts. In this year also, he staged a visual production on the theme of Orpheus, using dance, music and voice with several projectors. This was the first attempt at quadraphonic sound in Australia, working in collaboration with Derek Jolly, who provided the sound and projection equipment. It was also the first demonstration of "Chromasonics" - the science of translating sound into visual images. Ostoja then designed innovative "abstracted" scenery for a production of The Marriage of Figaro and Benjamin Britten's The Turn of the Screw. 1961 Ostoja designed the sets for the controversial South Australian production of Patrick White's The Ham Funeral - also Alan Seymour's Swamp Creatures, both performed by the University of Adelaide Theatre Guild. He designed and constructed six stained glass windows for the Refectory at the University of Adelaide. In this period Ostoja designed special lights and gauzes for difficult effects required in an ambitious production of the opera Don Carlos by the Opera Workshop, for the Elder Conservatorium. 1962 Ostoja designed and built sets for the production of J.B, by Archibald MacLeish, for the second Adelaide Festival of Arts. He exhibited vitreous enamel works in Melbourne's Argus Gallery. Max Harris, in The Bulletin of 20 October 1962, praised Ostoja's sets for My Cousin from Fiji in Union Theatre, Adelaide, and his technique of rear screen projections as later adopted throughout Australia. 1963 Ostoja continued to develop Multi-Image projections, demonstrating for the first time in Australia the concept later to be known as 'audio-visuals!'. Ostoja gave Sir Herbert Read, the art critic, a personal viewing of one of his visual presentations. At Christmas, in the Elder Conservatorium, collaborating again with Derek Jolly, Ostoja gave what was probably the world's first "visual concert", using special projectors and incorporating music, colours and shapes. 1964 With fellow Adelaide artist John Dallwitz, Ostoja co-designed the first of several experimental dance and stage productions in the Adelaide Festival of Arts Sound and Image. The production featured Adelaide dancer Elizabeth_Cameron_Dalman. Also for the Adelaide Festival of Arts of that year, he designed the largest light mosaic ever staged up to that time, upon the facade of an 11-storey building. Ostoja was invited to New Zealand, and exhibited the first electronically generated images in Australia in Melbourne, at the Argus Gallery. His design for the 50-foot (15 m) bas-relief mural for the new B.P. building in Melbourne was the subject of a film which won the "Blue Ribbon" Award in the American Film Festival in New York. 1965 Ostoja designed and made the first light kinetic mural in Australia, and continued to evolve theatrical works using multi-screen and Multi-projector techniques. The Production of Jean Genet's The Balcony was very controversial. With Elizabeth Dalman, Ostoja produced new dance forms for Melbourne Television. He introduced Op Art to Australia, both at South Yarra Gallery in Melbourne, and Gallery A in Sydney. 1966 With John Dallwitz, Ostoja was invited by the Adelaide Festival of Arts to present more experimental theatre, Sound and image 1966. This highly acclaimed production incorporated Australian poetry into the sound, electronic music, and visual images and featured the dancer Antonio Rodrigues. The architect Robin Boyd commissioned Ostoja to design two large Op murals for the Australian Pavilion entrance at the Expo 67. Ostoja was awarded a Churchill Fellowship, which enabled him to have extensive world travel, comparing art and technology in many countries. He began to work with language, contemporary poetry and prose, and computers. 1967 John Dallwitz and Ostoja presented Sound and Image at the Festival of Perth. In Berne, Switzerland, Ostoja received the "Excellence F.I.A.P." Award for innovative photography. 1968 At the Adelaide Festival of Arts, Ostoja and John Dallwitz collaborated again to stage Sound and Image. This was the first theatre production in the world to use a laser beam. It also included the first science fiction play (The Veldt by Ray Bradbury) performed in Australia. Ostoja's theatre methods were increasingly attracting the attention of critics to how plays were staged. "Chromasonics", developed and introduced by Ostoja, was now being used extensively in the entertainment industry. 1969 Ostoja staged Krzysztof Penderecki's St. Luke Passion, a controversial, contemporary religious work. The South Australian The Advertiser wrote an extensive critique of Ostoja's work. Robin Boyd commissioned Ostoja to build a "Chromasonic" exhibit located in the Space Tube at the Australian Pavilion for Expo '70 in Osaka. 1970 Ostoja presented an Australian Aboriginal Dreamtime theme in his "Sound and Image" theatre, working with leading contemporary figures in poetry, music and dance. This was the first production of its kind in Australia, and appeared after the Festival in Melbourne, Sydney, Canberra and Perth. Ostoja's Space Scape mural, sixty feet long by ten feet high, won the Australia-wide competition for a mural for Adelaide Airport. His 120 feet (37 m) high 'light and sound' structure for the Adelaide Festival was the first of its kind in the world. 1971 Ostoja awarded a Creative Arts Fellowship at the Australian National University, Canberra. His 18-month stay resulted in the design and building of a "Chromasonics unit-laser", a 100 feet (30 m) Chromasonic tower, and a world premiere of a Synchronos concert. 1972 With Don Burrows and Don Banks, Ostoja presented Synchronos 72, where one could "hear the colours and see the sounds". Ostoja added Cymatics, developed during the Fellowship, to his workshop repertoire. He was invited to exhibit his photography in the National Gallery, Melbourne. 1973 Ostoja received a Fellowship from the Australian American Education Associatio
VP-Expert
VP-Expert is an artificial intelligence development tool that gained popularity in the late 1980s and early 1990s. Published by Paperback Software, VP-Expert was designed to facilitate the creation of rule-based expert systems, primarily for applications in business and industry. It was the best-selling expert-system software for microcomputers in the late 1980s. == History == VP-Expert was created by Brian Sawyer and published by Paperback Software in 1987. VP-Expert was widely adopted during the late 1980s. By April 1989, InfoWorld described it as "the best-selling expert-system software for personal computers." In June 1991, ownership of VP-Expert transferred from Paperback Software to WordTech Systems, Inc. following Paperback Software’s liquidation after a legal dispute with Lotus Development Corporation regarding its VP-Planner spreadsheet. VP-Expert continued to receive positive reviews with InfoWorld stating in 1992 "for automatically creating simple expert systems and being able to edit them into more sophisticated applications, hardly a better product exists than VP-Expert". == Features == VP-Expert used an inference engine based on backward chaining to reach conclusions through English-like if/then rules. It operated through a text interface and included an explanation facility that showed the reasoning steps used to justify its conclusions. == Applications == VP-Expert found applications across various domains. In environmental analysis, researchers used VP-Expert to develop a knowledge-based system for analyzing the impact of particulate matter air pollution on human health. In engineering design, VP-Expert was utilized in the creation of a prototype expert system to assist in fishway design. In aviation management, the tool was employed to develop an expert system aimed at maximizing airport capacity while adhering to noise-mitigation plans. == Limitations == While VP-Expert offered certain advantages, it also had limitations. Its rule-based approach could become challenging to manage for large and complex knowledge bases, and the process of eliciting and encoding knowledge from experts could be time-consuming and difficult.
Lukas Biewald
Lukas Biewald (born 1981) is an American entrepreneur and a prominent figure in artificial intelligence. He is recognized for his contributions to machine learning and as the CEO and co-founder of Weights & Biases, a company that builds developer tools for AI, that sold to CoreWeave in 2025 for $1.7B. He previously founded and was CEO of Figure Eight, a human-in-the-loop machine learning platform. He has co-authored 26 AI research papers from 2004 through 2018. == Early life and education == Biewald was born in Boston, Massachusetts in 1981. He attended Cambridge Rindge and Latin School and later earned both a Bachelor's and Master's degree in Computer science from Stanford University. == Early Career and Founding Figure Eight == After graduation, Biewald joined Yahoo! as an engineer, working on machine translations to improve search results, and eventually led the Search Relevance Team for Yahoo! Japan. He later joined Powerset, a natural language search technology company, as their Senior Scientist, which was acquired by Microsoft in 2008 for an estimated $100M. In 2007, Biewald co-founded Figure Eight (formerly CrowdFlower), a data labeling and crowdsourcing company that created datasets for training machine learning models. Figure Eight was acquired by Appen in 2019 for $300 million. == Weights and Biases == In 2017, Biewald co-founded Weights & Biases with Chris Van Pelt and Shawn Lewis. The company provides tools for tracking machine learning experiments, model management, and collaborative AI and LLM app development. The platform has been adopted by organizations such as OpenAI, Salesforce, and Microsoft. In March 2025 Coreweave acquired Weights and Biases at $1.7 billion, with the transaction closing on May 5, 2025. == Gradient Dissent == Biewald hosts the bi-weekly podcast Gradient Dissent. Guest have included: Anthony Goldbloom – Co-founder & CEO of Kaggle. “How to Win Kaggle Competitions” (podcast, Sep. 9, 2020). Shared tips on data-science competitions from the founder of the largest ML community. Richard Socher – Founder & CEO of You.com; former Chief Scientist at Salesforce. “The Challenges of Making ML Work in the Real World” (podcast, September 28, 2020). A leading NLP researcher, he spoke on multimodal search engines powered by large language models. Jensen Huang – Founder & CEO of NVIDIA. “NVIDIA’s CEO on the Next Generation of AI and MLOps” (podcast, March 3, 2022). Huang’s GPUs power modern ML research and production. Emad Mostaque – Co-founder & CEO of Stability AI. “Stable Diffusion, Stability AI, and What’s Next” (podcast, Nov. 15, 2022). Leads the company behind Stable Diffusion, which helped spark the generative-AI imaging boom. Drago Anguelov – Head of Research at Waymo. “Robustness, Safety, and Scalability at Waymo” (podcast, July 14, 2022). Covered Waymo’s self-driving AI advances and deployment challenges. Jeremy Howard – Co-founder of fast.ai. “The Simple but Profound Insight Behind Diffusion” (podcast, Jan. 5, 2023). Known for democratizing deep-learning education; discussed diffusion models and accessible AI tooling. Aidan Gomez – Co-founder & CEO of Cohere. “Scaling LLMs and Accelerating Adoption” (podcast, April 20, 2023). Co-author of “Attention Is All You Need,” he shared how Cohere delivers large-scale NLP models as a service. Chelsea Finn – Stanford Assistant Professor (AI & Robotics). “Shaping the World of Robotics with Chelsea Finn” (podcast, February 15, 2024). A pioneer in meta-learning and robotics, she detailed robots learning complex tasks like cooking. Andrew Feldman – Co-founder & CEO of Cerebras Systems. "Launching the Fastest AI Inference Solution" (podcast, August 27, 2024). Described wafer-scale AI chips achieving new training performance records. Thomas Dohmke – CEO of GitHub. “GitHub CEO on Copilot and the Future of Software Development” (podcast, June 10, 2025). Discussed building Copilot and the future of AI-assisted coding. Martin Shkreli – Founder of Godel Terminal. “From Pharma to AGI Hype, and Developing AI in Finance: Martin Shkreli’s Journey” (podcast, May 20, 2025). Shkreli reflects on his pharma controversies, prison experience, and his new AI-driven trading platform. Jarek Kutylowski – Founder & CEO of DeepL. “How DeepL Built a Translation Powerhouse with AI” (podcast, July 8, 2025). Shared how DeepL’s neural-MT rivals Google Translate through model and infrastructure innovation. == Awards and recognition == In 2010, Lukas Biewald won the Netexplorateur Award for creating the GiveWork iPhone app, which allows users to perform small tasks that assist refugees and people in developing countries. In 2010, Inc Magazine included Biewald and Van Pelt on its list of the Top 30 Entrepreneurs Under 30. == Publications == Ensuring quality in crowdsourced search relevance evaluation: The effects of training question distribution by John Le, Andy Edmonds, Vaughn Hester, Lukas Biewald. SIGIR 2010 Workshop on Crowdsourcing for Search Evaluation, July 2010. Superficial Data Analysis: Exploring Millions of Social Stereotypes by Lukas Biewald, Brendan O’Connor. O’Reilly July 2009 Biewald has co-authored 26 AI research papers from 2004 through 2018.
Protégé (software)
Protégé is a free, open source ontology editor and a knowledge management system. The Protégé meta-tool was first built by Mark Musen in 1987 and has since been developed by a team at Stanford University. The software is the most popular and widely used ontology editor in the world. == Overview == Protégé provides a graphical user interface to define ontologies. It also includes deductive classifiers to validate that models are consistent and to infer new information based on the analysis of an ontology. Like Eclipse, Protégé is a framework for which various other projects suggest plugins. This application is written in Java and makes heavy use of Swing to create the user interface. According to their website, there are over 300,000 registered users. A 2009 book calls it "the leading ontological engineering tool". Protégé is developed at Stanford University and is made available under the BSD 2-clause license. Earlier versions of the tool were developed in collaboration with the University of Manchester.
International Speech Communication Association
The International Speech Communication Association (ISCA) is a non-profit organization and one of the two main professional associations for speech communication science and technology, the other association being the IEEE Signal Processing Society. == Purpose == The purpose of the International Speech Communication Association (ISCA) is to promote the study and application of automatic speech processing, including speech recognition and synthesis, as well as related areas such as speaker recognition and speech compression. The association's activities cover all aspects of speech processing, including computational, linguistic, and theoretical aspects. The primary goal of the International Speech Communication Association (ISCA) is to advance the field of automatic speech processing and communication technology through research, education, and collaboration. By promoting the study and application of speech technologies such as speech recognition, speech synthesis, speaker recognition, and speech compression, ISCA aims to foster innovation and development in the areas of human-computer interaction, telecommunications, and multimedia applications. ISCA serves as a platform for researchers, academics, industry professionals, and students to exchange knowledge, share best practices, and foster interdisciplinary dialogue in the field of speech communication science. Through conferences, workshops, publications, and educational initiatives, ISCA seeks to enhance the understanding of speech processing mechanisms, improve the accuracy and efficiency of speech technologies, and explore new frontiers in the realm of human language communication. Furthermore, ISCA plays a crucial role in promoting international collaboration and networking among professionals in the speech communication community. By facilitating partnerships and cooperation between individuals and organizations worldwide, ISCA seeks to drive global progress in speech technology research and application, ultimately contributing to the advancement of communication systems, accessibility tools, and interactive interfaces that benefit society as a whole. == Conferences == ISCA organizes yearly the Interspeech conference. Most recent Interspeech: 2013 Lyon, France 2014 Singapore 2015 Dresden, Germany 2016 San Francisco, US 2017 Stockholm, Sweden 2018 Hyderabad, India 2019 Graz, Austria 2020 Shanghai, China (fully virtual) 2021 Brno, Czechia (hybrid) 2022 Incheon, South Korea 2023 Dublin, Ireland 2023 Kos Island, Greece Forthcoming Interspeech: 2025 Rotterdam, the Netherlands == ISCA board == The ISCA president for 2023-2025 is Odette Scharenborg. The vice president is Bhuvana Ramabhadran and the other members are professionals in the field. == History of ISCA == The precursor to Interspeech was a conference called Eurospeech, first held in 1989 and organised by Jean-Pierre Tubach. It was the conference of the European Speech Communication Association (ESCA), itself the precursor of the International Speech Communication Association (ISCA). A year later another conference on speech science and technology was started: the International Conference on Spoken Language Processing (ICSLP), which was founded in 1990 by Hiroya Fujisaki. The first ISCA (vs. ESCA) event was the merging of Eurospeech and ICSLP to create ICSLP-Interspeech, held in Beijing, China in 2000. This was followed by Eurospeech-Interspeech, which was held in Aalborg, Denmark in 2001. In 2007, the Eurospeech and ICSLP parts of the conference names were dropped and Interspeech became the name of the yearly conference (first Interspeech location: Antwerp, Belgium).
Chinese room
The Chinese room argument holds that a computer executing a program cannot have a mind, understanding, or consciousness, regardless of how intelligently or human-like the program may make the computer behave. The argument was presented in a 1980 paper by the American philosopher John Searle, entitled "Minds, Brains, and Programs" and published in the journal Behavioral and Brain Sciences. Similar arguments had been made previously by others, including Gottfried Wilhelm Leibniz, Peter Winch, and Anatoly Dneprov. Searle's version has been widely discussed in the years since. The centerpiece of Searle's argument is a thought experiment known as the "Chinese room". The argument is directed against the philosophical positions of functionalism and computationalism, which hold that the mind may be viewed as an information-processing system operating on formal symbols, and that simulation of a given mental state is sufficient for its presence. Specifically, the argument is intended to refute a position Searle calls the strong AI hypothesis: "The appropriately programmed computer with the right inputs and outputs would thereby have a mind in exactly the same sense human beings have minds." Although its proponents originally presented the argument in reaction to statements of artificial intelligence (AI) researchers, it is not an argument against the goals of mainstream AI research because it does not show a limit in the amount of intelligent behavior a machine can display. The argument applies only to digital computers running programs and does not apply to machines in general. While widely discussed, the argument has been subject to significant criticism and remains controversial among philosophers of mind and AI researchers. == Chinese room thought experiment == Suppose that artificial intelligence research has succeeded in programming a computer to behave as if it understands Chinese. The machine accepts Chinese characters as input, carries out each instruction of the program step by step, and then produces Chinese characters as output. The machine does this so perfectly that no one can tell that they are communicating with a machine and not a hidden Chinese speaker. The questions at issue are these: does the machine actually understand the conversation, or is it just simulating the ability to understand the conversation? Does the machine have a mind in exactly the same sense that people do, or is it just acting as if it had a mind? Now suppose that Searle is in a room with an English version of the program, along with sufficient pencils, paper, erasers and filing cabinets. Chinese characters are slipped in under the door, and he follows the program step-by-step, which eventually instructs him to slide other Chinese characters back out under the door. If the computer had passed the Turing test this way, it follows that Searle would do so as well, simply by running the program by hand. Searle can see no essential difference between the roles of the computer and himself in the experiment. Each simply follows a program, step-by-step, producing behavior that makes them appear to understand. However, Searle would not be able to understand the conversation. Therefore, he argues, it follows that the computer would not be able to understand the conversation either. Searle argues that, without "understanding" (or "intentionality"), we cannot describe what the machine is doing as "thinking" and, since it does not think, it does not have a "mind" in the normal sense of the word. Therefore, he concludes that the strong AI hypothesis is false: a computer running a program that simulates a mind would not have a mind in the same sense that human beings have a mind. == History == Gottfried Wilhelm Leibniz made a similar argument in 1713 against mechanism, the idea that everything that makes up a human being could, in principle, be explained in mechanical terms—in other words, that a person, including their mind, is merely a very complex machine. Leibniz used the thought experiment of expanding the brain until it was the size of a mill. He found it difficult to imagine that a "mind" capable of "perception" could be constructed using only mechanical processes. British philosopher Peter Winch made the same point in his 1958 book The Idea of a Social Science and its Relation to Philosophy, in which he argues that "a man who understands Chinese is not a man who has a firm grasp of the statistical probabilities for the occurrence of the various words in the Chinese language" (p. 108). Soviet cyberneticist Anatoly Dneprov made an essentially identical argument in 1961, in the form of his short story "The Game". In it, a stadium of people act as switches and memory cells implementing a program to translate a sentence from Portuguese, a language none of them know. The game was organized by a "Professor Zarubin" to answer the question "Can mathematical machines think?" Speaking through Zarubin, Dneprov writes that "the only way to prove that machines can think is to turn yourself into a machine and examine your thinking process", and he concludes, as Searle does, that "even the most perfect simulation of machine thinking is not the thinking process itself." In 1974, Lawrence H. Davis imagined duplicating the brain using telephone lines and offices staffed by people, and in 1978, Ned Block envisioned the entire population of China involved in such a brain simulation. This is known as the China brain thought experiment. Searle's version appeared in his 1980 article "Minds, Brains, and Programs", published in Behavioral and Brain Sciences. It eventually became the journal's "most influential target article", generating an enormous number of commentaries and responses in the ensuing decades, and Searle had continued to defend and refine the argument in multiple papers, popular articles, and books. David Cole writes that "the Chinese Room argument has probably been the most widely discussed philosophical argument in cognitive science to appear in the past 25 years". Most of the discussion consists of attempts to refute it. "The overwhelming majority", notes Behavioral and Brain Sciences editor Stevan Harnad, "still think that the Chinese Room Argument is dead wrong". The sheer volume of the literature that has grown up around it inspired Pat Hayes to comment that the field of cognitive science ought to be redefined as "the ongoing research program of showing Searle's Chinese Room Argument to be false". Searle's argument has become "something of a classic in cognitive science", according to Harnad. Varol Akman agrees, and has described the original paper as "an exemplar of philosophical clarity and purity". == Philosophy == Although the Chinese Room argument was originally presented in reaction to the statements of artificial intelligence researchers, philosophers have come to consider it as an important part of the philosophy of mind. It is a challenge to functionalism and the computational theory of mind, and is related to such questions as the mind–body problem, the problem of other minds, the symbol grounding problem, and the hard problem of consciousness. === Strong AI === Searle identified a philosophical position he calls "strong AI": The appropriately programmed computer with the right inputs and outputs would thereby have a mind in exactly the same sense human beings have minds. The definition depends on the distinction between simulating a mind and actually having one. Searle writes that "according to Strong AI, the correct simulation really is a mind. According to Weak AI, the correct simulation is a model of the mind." The claim is implicit in some of the statements of early AI researchers and analysts. For example, in 1957, the economist and psychologist Herbert A. Simon declared that "there are now in the world machines that think, that learn and create". Simon, together with Allen Newell and Cliff Shaw, after having completed the first program that could do formal reasoning (the Logic Theorist), claimed that they had "solved the venerable mind–body problem, explaining how a system composed of matter can have the properties of mind." John Haugeland wrote that "AI wants only the genuine article: machines with minds, in the full and literal sense. This is not science fiction, but real science, based on a theoretical conception as deep as it is daring: namely, we are, at root, computers ourselves." Searle also ascribes the following claims to advocates of strong AI: AI systems can be used to explain the mind; The study of the brain is irrelevant to the study of the mind; and The Turing test is adequate for establishing the existence of mental states. === Strong AI as computationalism or functionalism === In more recent presentations of the Chinese room argument, Searle has identified "strong AI" as "computer functionalism" (a term he attributes to Daniel Dennett). Functionalism is a position in modern philosophy of mind that holds that we can define menta