Netflix could buy 10 top quality screenplays per year with the cash they’ll spend on that one job.  They must have big plans for AI.There are also a half dozen AI job openings at Disney. And the tech-based streamers (Apple, Amazon) already have made big investments in AI. Sony launched an AI business unit in April 2020—in order to “enhance human imagination and creativity, particularly in the realm of entertainment.”

When Spotify launched on the stock exchange in 2018, it was losing around $30 million per month. Now it’s much larger, and is losing money at the pace of more than $100 million per month.

But the real problem at Spotify isn’t just convincing people to pay more. It runs much deeper. Spotify finds itself in the awkward position of asking people to pay more for a lousy interface that degrades the entire user experience.

Boredom is built into the platform, because they lose money if you get too excited about music—you’re like the person at the all-you-can-eat buffet who goes back for a third helping. They make the most money from indifferent, lukewarm fans, and they created their interface with them in mind. In other words, Spotify’s highest aspiration is to be the Applebee’s of music.

They need to prepare for a possible royalty war against record labels and musicians—yes, that could actually happen—and they do that by creating a zombie world of brain dead listeners who don’t even know what artist they’re hearing. I know that sounds extreme, but spend some time on the platform and draw your own conclusions.

The broader issue is that the video industry finally seems to be facing what happened to the print and music industry before them: the Internet comes bearing gifts like infinite capacity and free distribution, but those gifts are a poisoned chalice for industries predicated on scarcity. When anyone could publish text, most text-based businesses went from massive profitability to terminal decline; when anyone could distribute music the music industry could only be saved by tech companies like Spotify helping them sell convenience in place of plastic discs.

thanks to COVID a lot of people fell out of the habit of going to the movie theater, and it appears around 25% of the audience permanently found something better to do with their time; that same reality applies to TV. Just as newspapers once thought the Internet was a boon because it increased their addressable market, only to find out that it also drastically increased competition for readers’ attention, Hollywood has to face the reality that the ability to make far more shows extends not only to studios but also to literally anyone.

In the coming weeks, when you search for something that might benefit from the experiences of others, you may see a Perspectives filter appear at the top of search results. Tap the filter, and you’ll exclusively see long- and short-form videos, images and written posts that people have shared on discussion boards, Q&A sites and social media platforms. We’ll also show more details about the creators of this content, such as their name, profile photo or information about the popularity of their content.

Helpful information can often live in unexpected or hard-to-find places: a comment in a forum thread, a post on a little-known blog, or an article with unique expertise on a topic. Our helpful content ranking system will soon show more of these “hidden gems” on Search, particularly when we think they’ll improve the results.We’ve also worked to improve how we rank review content on Search – for example, web pages that review businesses or destinations – to place greater emphasis on the quality and originality of the information. You’ll now see more pages that are based on first-hand experience, or are created by someone with deep knowledge in a given subject. And as we underscore the importance of “experience” as an element of helpful content, we continue our focus on information quality and critical attributes like authoritativeness, expertise and trustworthiness, so you can rely on the information you find.

I consider myself as an internet offspring. I had the chance to access to computers very early in my life and I think it had a big influence on who I am right now. Like a lot of us, internet citizens, what I value the most is learning. Whatever the subject, whatever it takes, whatever it cost, money or time, what I like most is learning. That's, I think, the biggest reason of why I'm starting this "Limitless Exploration" project.

With the comprehensive application of Artificial Intelligence into the creation and post production of images, it seems questionable if the resulting visualisations can still be considered ‘photographs’ in a classical sense – drawing with light. Automation has been part of the popular strain of photography since its inception, but even the amateurs with only basic knowledge of the craft could understand themselves as author of their images. We state a legitimation crisis for the current usage of the term. This paper is an invitation to consider Synthography as a term for a new genre for image production based on AI, observing the current occurrence and implementation in consumer cameras and post-production.

The proliferation of AI-generated images in online environments won’t eradicate human art wholesale, but it does represent a reshuffling of the market incentives that help creative economies flourish. Like the college essay, another genre of human creativity threatened by AI usurpation, creative “products” might become more about process than about art as a commodity.

Are artists using computer software on iPads to make seemingly hand-painted images engaged in a less creative process than those who produce the image by hand? We can certainly judge one as more meritorious than the other but claiming that one is more original is harder to defend.

An understanding of the technology as one that separates human from machine into distinct categories leaves little room for the messier ways we often fit together with our tools. AI-generated images will have a big impact on copyright law, but the cultural backlash against the “computers making art” overlooks the ways computation has already been incorporated into the arts.

The problem with debates around AI-generated images that demonize the tool is that the displacement of human-made art doesn’t have to be an inevitability. Markets can be adjusted to mitigate unemployment in changing economic landscapes. As legal scholar Ewan McGaughey points out, 42% of English workers were redundant after WWII — and yet the U.K. managed to maintain full employment.

Contemporary critics claim that prompt engineering and synthography aren’t emergent professions but euphemisms necessary to equate AI-generated artwork with the work of human artists. As with the development of photography as a medium, today’s debates about AI often overlook how conceptions of human creativity are themselves shaped by commercialization and labor.

Others looking to elevate AI art’s status alongside other forms of digital art are opting for an even loftier rebrand: “synthography.” This categorization suggests a process more complex than the mechanical operation of a picture-making tool, invoking the active synthesis of disparate aesthetic elements. Like Fox Talbot and his contemporaries in the nineteenth century, “synthographers” maintain that AI art simply automates the most time-consuming parts of drawing and painting, freeing up human cognition for higher-order creativity.

Separating human from camera was a necessary part of preserving the myth of the camera as an impartial form of vision. To incorporate photography into an economic landscape of creativity, however, human agency needed to ascribe to all parts of the process.

Consciously or not, proponents of AI-generated images stamp the tool with rhetoric that mirrors the democratic aspirations of the twenty-first century.

Stability AI took a similar tack, billing itself as “AI by the people, for the people,” despite turning Stable Diffusion, their text-to-image model, into a profitable asset. That the program is easy to use is another selling point. Would-be digital artists no longer need to use expensive specialized software to produce visually interesting material.

Meanwhile, communities of digital artists and their supporters claim that the reason AI-generated images are compelling at all is because they were trained with data sets that contained copyrighted material. They reject the claim that AI-generated art produces anything original and suggest it instead be thought of as a form of “twenty-first century collage.”

Erasing human influence from the photographic process was good for underscoring arguments about objectivity, but it complicated commercial viability. Ownership would need to be determined if photographs were to circulate as a new form of property. Was the true author of a photograph the camera or its human operator?

By reframing photographs as les dessins photographiques — or photographic drawings, the plaintiffs successfully established that the development of photographs in a darkroom was part of an operator’s creative process. In addition to setting up a shot, the photographer needed to coax the image from the camera’s film in a process resembling the creative output of drawing. The camera was a pencil capable of drawing with light and photosensitive surfaces, but held and directed by a human author.

Establishing photography’s dual function as both artwork and document may not have been philosophically straightforward, but it staved off a surge of harder questions.

Human intervention in the photographic process still appeared to happen only on the ends — in setup and then development — instead of continuously throughout the image-making process.

Secure energy is prerequisite to the prosperity that lifts people out of poverty.  At the same time, we want to protect the environment while providing this secure energy.  Achieving that will require competing interests to play together in the “radical middle” where conflicting goals collide around energy, the economy and the environment.

More than half of what we consume in the world today is made in countries that use coal to make it. So, we sometimes close our ears and eyes, and say, “We’re green. Just keep making our stuff over there and we’ll buy it on Amazon and have it delivered to our door one small thing at a time.” This is not good for the climate.

Emissions in Asia go into the one unique atmosphere that we all share, and by not reducing our consumption of products, we are simply moving the source of those emissions far away.

Kale is healthy, but it is not dense calorically, so you would have to eat a lot of it. Beef is dense with calories to sustain life, but too much of it is not all that healthy. Wind and solar and hydroelectric power are like kale, ideal if only you could live on the energy it provides.  Coal and oil and natural gas and nuclear power are like cow, less benign, but energy dense. Not just a little denser. Several hundred times denser.

Over the past six months, I spoke with more than two dozen annotators from around the world, and while many of them were training cutting-edge chatbots, just as many were doing the mundane manual labor required to keep AI running. There are people classifying the emotional content of TikTok videos, new variants of email spam, and the precise sexual provocativeness of online ads. Others are looking at credit-card transactions and figuring out what sort of purchase they relate to or checking e-commerce recommendations and deciding whether that shirt is really something you might like after buying that other shirt. Humans are correcting customer-service chatbots, listening to Alexa requests, and categorizing the emotions of people on video calls. They are labeling food so that smart refrigerators don’t get confused by new packaging, checking automated security cameras before sounding alarms, and identifying corn for baffled autonomous tractors.

When I started my career 3G was the hot topic, and every investor kept asking ‘what’s the killer app for 3G?’ It turned out that the killer app for having the internet in your pocket was, well, having the internet in your pocket. But with each of those, we knew what to build next, and with VR we don’t. That tells me that VR has a place in the future. It just doesn’t tell me what kind of place.

The successor to the smartphone will be something that doesn’t just merge AR and VR but make the distinction irrelevant - something that you can wear all day every day, and that can seamlessly both occlude and supplement the real world and generate indistinguishable volumetric space.

Designers move from idea to a wireframe, a prototype, a logo, or even just a drawing. Developers move from a problem or feature to a coded solution that is solved and released. Both are creative, both are in aid of the end-user. The Design Engineer role is also creative and authors code but systematically translates a design towards implementation in a structured way.  I have never worked anywhere where there wasn't someone trying to close the gap. This role is often filled in accidentally, and companies are totally unaware of the need. Recruiters have never heard of it, and IT consultancies don't have the capability in their roster. We now name the role "Design Engineer" because the gap is widening, and the role has become too complex to not exist.

Pessimists Archive™ is a project to educate people on and archive the history of technophobia and moral panics. We believe the best antidote to fear of the new is looking back at fear of the old.Only by looking back at fears of old things when they were new, can we have rational constructive debates about emerging technologies today that avoids the pitfalls of moral panic and incumbent protectionism.

Meta, today, has roughly the right price and is working forward to the right device: Apple has started with the right device and will work back to the right price. Meta is trying to catalyse an ecosystem while we wait for the right hardware - Apple is trying to catalyse an ecosystem while we wait for the right price.

one of the things I wondered before the event was how Apple would show a 3D experience in 2D. Meta shows either screenshots from within the system (with the low visual quality inherent in the spec you can make and sell for $500) or shots of someone wearing the headset and grinning - neither are satisfactory. Apple shows the person in the room, with the virtual stuff as though it was really there, because it looks as though it is.

For Meta, the device places you in ‘the metaverse’ and there could be many experiences within that. For Apple, this device itself doesn’t take you anywhere - it’s a screen and there could be five different ‘metaverse’ apps. This iPhone was a piece of glass that could be anything - this is trying to be a piece of glass that can show anything.

A lot of what Apple shows is possibility and experiment - it could be this, this or that, just as when Apple launched the watch it suggested it as fitness, social or fashion, and it turn out to work best for fitness (and is now a huge business).

Mark Zuckerberg, speaking to a Meta all-hands after Apple’s event, made the perfectly reasonable point that Apple hasn’t shown much that no-one had thought of before - there’s no ‘magic’ invention. Everyone already knows we need better screens, eye-tracking and hand-tracking, in a thin and light device.

It’s worth remembering that Meta isn’t in this to make a games device, nor really to sell devices per se - rather, the thesis is that if VR is the next platform, Meta has to make sure it isn’t controlled by a platform owner who can screw them, as Apple did with IDFA in 2021.

On the other hand, the Vision Pro is an argument that current devices just aren’t good enough to break out of the enthusiast and gaming market, incremental improvement isn’t good enough either, and you need a step change in capability.

Apple’s privacy positioning, of course, has new strategic value now that it’s selling a device you wear that’s covered in cameras

the genesis of the current wave of VR was the realisation a decade ago that the VR concepts of the 1990s would work now, and with nothing more than off-the-shelf smartphone components and gaming PCs, plus a bit more work. But ‘a bit more work’ turned out to be thirty or forty billion dollars from Meta and God only knows how much more from Apple - something over $100bn combined, almost certainly.

So it might be that a wearable screen of any kind, no matter how good, is just a staging post - the summit of a foothill on the way to the top of Everest. Maybe the real Reality device is glasses, or contact lenses projecting onto your retina, or some kind of neural connection, all of which might be a decade or decades away again, and the piece of glass in our pocket remains the right device all the way through.

I think the price and the challenge of category creation are tightly connected. Apple has decided that the capabilities of the Vision Pro are the minimum viable product - that it just isn’t worth making or selling a device without a screen so good you can’t see the pixels, pass-through where you can’t see any lag, perfect eye-tracking and perfect hand-tracking. Of course the rest of the industry would like to do that, and will in due course, but Apple has decided you must do that.

For VR, better screens are merely better, but for AR Apple thinks this this level of display system is a base below which you don’t have a product at all.

For Meta, the device places you in ‘the metaverse’ and there could be many experiences within that. For Apple, this device itself doesn’t take you anywhere - it’s a screen and there could be five different ‘metaverse’ apps. The iPhone was a piece of glass that could be anything - this is trying to be a piece of glass that can show anything.

This reminds me a little of when Meta tried to make a phone, and then a Home Screen for a phone, and Mark Zuckerberg said “your phone should be about people.” I thought “no, this is a computer, and there are many apps, some of which are about people and some of which are not.” Indeed there’s also an echo of telco thinking: on a feature phone, ‘internet stuff’ was one or two icons on your portable telephone, but on the iPhone the entire telephone was just one icon on your computer. On a Vision Pro, the ‘Meta Metaverse’ is one app amongst many. You have many apps and panels, which could be 2D or 3D, or could be spaces.

It’s no surprise that Apple considered holding off on announcing the price until months after WWDC to avoid the negative headlines. In the end, the company decided the price would become an even larger target if it wasn’t revealed at the event. Consumers now have nine months to digest it before the Vision Pro goes on sale.

Betting against a first-generation Apple product is a bad trade — from infamous dismissals of the iPhone to disappointment with the original iPad. In fact, this is a reflection of Apple’s strategy: Start with a product that’s more an elegant proof-of-concept than a prime-time hit; rely on early adopters to provide enough runway for its engineers to keep iterating; and trust in unmatched capital, talent, brand equity, and staying power to morph a first-gen toy into a third-gen triumph

We are a long way from making three screens, a glass shield, and an array of supporting hardware light enough to wear for an extended period. Reviewers were (purposefully) allowed to wear the Vision Pro for less than half an hour, and nearly every one said comfort was declining even then. Avatar: The Way of Water is 3 hours and 12 minutes.

Meta’s singular strategic objective is to escape second-tier status and, like Apple and Alphabet, control its distribution. And its path to independence runs through Apple Park. Zuckerberg is spending the GDP of a small country to invent a new world, the metaverse, where Apple doesn’t own the roads or power stations. Vision Pro is insurance against the metaverse evolving into anything more than an incel panic room.

The only product category where VR makes difference is good VR games. Price is not limiting factor, the quality of VR experience is. Beat Saber is good and fun and physical exercise. Half Life: Alyx, is amazing. VR completely supercharges horror games, and scary stalking shooters. Want to fear of your life and get PTSD in the comfort of your home? You can do it. Games can connect people and provide physical exercise. If the 3rd iteration of Vision Pro is good for 2 hours of playing for $2000 Apple will kill the console market. Playstations no more. Apple is not a gaming company, but if Vision Pro becomes better and slightly cheaper, Apple becomes gaming company against its will.

Apple Vision is technically a VR device that experientially is an AR device, and it’s one of those solutions that, once you have experienced it, is so obviously the correct implementation that it’s hard to believe there was ever any other possible approach to the general concept of computerized glasses.

the Vision is taking that captured image, processing it, and displaying it in front of your eyes in around 4 milliseconds.

Real-time operating systems are used in embedded systems for applications with critical functionality, like a car, for example: it’s ok to have an infotainment system that sometimes hangs or even crashes, in exchange for more flexibility and capability, but the software that actually operates the vehicle has to be reliable and unfailingly fast. This is, in broad strokes, one way to think about how visionOS works: while the user experience is a time-sharing operating system that is indeed a variation of iOS, and runs on the M2 chip, there is a subsystem that primarily operates the R1 chip that is real-time; this means that even if visionOS hangs or crashes, the outside world is still rendered under that magic 12 milliseconds.

I’ll be honest: what this looked like to me was a divorced dad, alone at home with his Vision Pro, perhaps because his wife was irritated at the extent to which he got lost in his own virtual experience.

What can you do with this thing? There’s a good chance that, whatever killer apps may emerge, they don’t need the entire complement of sensors and widgets to deliver a great experience. As that’s discovered, Apple will be able to open a second tier in this category and sell you a simplified model at a lower cost. Meanwhile, the more they manufacture the essentials—high density displays, for example—the higher their yields will become, the more their margins will increase. It takes time to perfect manufacturing processes and build up capacity. Vision Pro isn’t just about 2024’s model. It’s setting up the conditions for Apple to build the next five years of augmented reality wearable technology.

VR/AR doesn’t have to suck ass. It doesn’t have to give you motion sickness. It doesn’t have to use these awkward, stupid controllers you accidentally swap into the wrong hand. It doesn’t have to be fundamentally isolating. If this paradigm shift could have been kicked off by cheap shit, we’d be there already. May as well pursue the other end of the market.

what starts as clunky needn’t remain so. As the technology for augmented reality becomes more affordable, more lightweight, more energy efficient, more stylish, it will be more feasible for more people to use. In the bargain, we’ll get a display technology entirely unshackled from the constraints of a monitor stand. We’ll have much broader canvases subject to the flexibility of digital creativity, collaboration and expression. What this unlocks, we can’t say.

“There is a problem within the games industry where we don’t value institutional knowledge,” Moon said. “Companies will prioritize bringing someone from outside rather than keeping their junior or mid-level developers and training them up. We are shooting ourselves in the foot by not valuing that institutional knowledge. You can really see it in Tears of the Kingdom. It’s an advancement of what made Breath of the Wild special.”

A lot of people see software as a list of features, hardware as a list of specs. But when you think about how much time we spend with these things, maybe they just aren’t that utilitarian. We think of buildings not just as volumes of conditioned air — but also as something architected, as something that can have a profound effect on how you feel, something that can have value in itself (historical buildings and such).

Efficiency initiatives are all about doing the same (or more) with less.  And while sometimes that can be done purely through technology, humans often bear the brunt of efficiency initiatives.

When Zuckerberg says the organization is getting “flatter,” he means that more non-management workers will have to take on types of work—coordinating, synthesizing, communicating, and affective tasks—that managers used to do. For many, that means a significant intensification of a style of work that is not for everyone.

becoming more efficient and productive seems to hold positive moral value. It goes into the plus column on the balance sheet of your character. But this moral quality of efficiency acts to turn us each into a certain kind of person. Not just a certain kind of worker, but a certain kind of voter, parent, partner, mentor, and citizen.

Social theorist Kathi Weeks argues that the responsibilities we feel toward work—and I’ll add our responsibility specifically to efficiency and productivity—have “more to do with the socially mediating role of work than its strictly productive function.” In other words, the stories we tell about work and our relationships to it are actively creating our “social, political, and familial” stories and relationships, too.

A Year of Efficiency is bound to make shareholders happy. But what does it do to the humans who create the value those shareholders add to their portfolios? A Year of Efficiency might mean you can fit in more social media posts, more podcast episodes, more emails, or even more products or services. But how do you feel at the end? How has your relationship with yourself changed? How has your relationship with others changed?  Who do you become when efficiency is your guiding principle?

It’s worth questioning the moral quality we assign to efficiency and productivity in our society is healthy, or even useful. And it’s worth asking whether efficiency and productivity are really the modes through which we want to relate to our partners, children, friends, and communities.

While I certainly won’t deny the satisfaction of learning how to do a task faster, I do think it’s worth interrogating the way efficiency comes to shape our lives.

Aonuma became co-director of “Ocarina,” which revolutionized how game characters move and fight each other in a 3D space. Unlike cinema, video games require audience control of the camera. “Ocarina” created a “camera-locking” system to focus the perspective while you use the controller for character movement. The system, still used by games today, is a large reason “Ocarina” is often compared to the work of Orson Welles, who redefined how cinema was shot.

The “ethos of Zelda” focuses on such new, unexpected concepts of play — even as many other modern games prioritize story, like TV and film do. With “Tears,” at “the beginning of development, there really isn’t a story,” Fujibayashi said. “Once we got to the point where we felt confident in the gameplay experience, that’s when the story starts to emerge.”