Microsoft gives its Edge web browser an unfair advantage and EU antitrust regulators should subject it to tough EU tech rules, three rival browsers and a group of web developers said in a letter to the European Commission. From a report: The move by Vivaldi, Waterfox, Wavebox and the Open Web Advocacy could boost Norwegian browser company Opera which in July took the European Commission to court for exempting Edge from the Digital Markets Act (DMA). [...] "Unfair practices are currently allowed to persist on the Windows' ecosystem with respect to Edge, unmitigated by the choice screens that exist on mobile," they said, pointing to Edge set as the default browser on all Windows computers. "No platform independent browser can aspire to match Edge's unparalleled distribution advantage on Windows. Edge is, moreover, the most important gateway for consumers to download an independent browser on Windows PCs."

AI music generators Suno and Udio responded to the lawsuits filed by the major recording labels, arguing that their platforms are tools for making new, original music that "didn't and often couldn't previously exist."

"Those genres and styles -- the recognizable sounds of opera, or jazz, or rap music -- are not something that anyone owns," the companies said. "Our intellectual property laws have always been carefully calibrated to avoid allowing anyone to monopolize a form of artistic expression, whether a sonnet or a pop song. IP rights can attach to a particular recorded rendition of a song in one of those genres or styles. But not to the genre or style itself." TorrentFreak reports: "[The labels] frame their concern as one about 'copies' of their recordings made in the process of developing the technology -- that is, copies never heard or seen by anyone, made solely to analyze the sonic and stylistic patterns of the universe of pre-existing musical expression. But what the major record labels really don't want is competition." The labels' position is that any competition must be legal, and the AI companies state quite clearly that the law permits the use of copyrighted works in these circumstances. Suno and Udio also make it clear that snippets of copyrighted music aren't stored as a library of pre-existing content in the neural networks of their AI models, "outputting a collage of 'samples' stitched together from existing recordings" when prompted by users.

"[The neural networks were] constructed by showing the program tens of millions of instances of different kinds of recordings," Suno explains. "From analyzing their constitutive elements, the model derived a staggeringly complex collection of statistical insights about the auditory characteristics of those recordings -- what types of sounds tend to appear in which kinds of music; what the shape of a pop song tends to look like; how the drum beat typically varies from country to rock to hip-hop; what the guitar tone tends to sound like in those different genres; and so on." These models are vast stores, not of copyrighted music, the defendants say, but information about what musical styles consist of, and it's from that information new music is made.

Most copyright lawsuits in the music industry are about reproduction and public distribution of identified copyright works, but that's certainly not the case here. "The Complaint explicitly disavows any contention that any output ever generated by Udio has infringed their rights. While it includes a variety of examples of outputs that allegedly resemble certain pre-existing songs, the Complaint goes out of its way to say that it is not alleging that those outputs constitute actionable copyright infringement." With Udio declaring that, as a matter of law, "that key point makes all the difference," Suno's conclusion is served raw. "That concession will ultimately prove fatal to Plaintiffs' claims. It is fair use under copyright law to make a copy of a protected work as part of a back-end technological process, invisible to the public, in the service of creating an ultimately non-infringing new product." Noting that Congress enacted the first copyright law in 1791, Suno says that in the 233 years since, not a single case has ever reached a contrary conclusion.

In addition to addressing allegations unique to their individual cases, the AI companies accuse the labels of various types of anti-competitive behavior. Imposing conditions to prevent streaming services obtaining licensed music from smaller labels at lower rates, seeking to impose a "no AI" policy on licensees, to claims that they "may have responded to outreach from potential commercial counterparties by engaging in one or more concerted refusals to deal." The defendants say this type of behavior is fueled by the labels' dominant control of copyrighted works and by extension, the overall market. Here, however, ownership of copyrighted music is trumped by the existence and knowledge of musical styles, over which nobody can claim ownership or seek to control. "No one owns musical styles. Developing a tool to empower many more people to create music, by scrupulously analyzing what the building blocks of different styles consist of, is a quintessential fair use under longstanding and unbroken copyright doctrine. "Plaintiffs' contrary vision is fundamentally inconsistent with the law and its underlying values." You can read Suno and Udio's answers to the RIAA's lawsuits here (PDF) and here (PDF).

It's been adapted into a graphic novel, a videogame, a radio play, and an opera, according to Wikipedia — which also describes years of trying to adapt Neuromancer into a movie. "The landmark 1984 cyberpunk novel has been on Hollywood's wishlist for decades," writes Gizmodo, "with multiple filmmakers attempting to bring it to the big screen." (Back in 2010, Slashdot's CmdrTaco even posted an update with the headline "Neuromancer Movie In Your Future?" with a 2011 story promising the movie deal was "moving forward....")

But now Deadline reports it's becoming a 10-episode series on Apple TV+ (co-produced by Apple Studios) starring Callum Turner and Brianna Middleton: Created for television by Graham Roland and JD Dillard, Neuromancer follows a damaged, top-rung super-hacker named Case (Turner) who is thrust into a web of digital espionage and high stakes crime with his partner Molly (Middleton), a razor-girl assassin with mirrored eyes, aiming to pull a heist on a corporate dynasty with untold secrets.
More from Gizmodo: "We're incredibly excited to be bringing this iconic property to Apple TV+," Roland and Dillard said in a statement. "Since we became friends nearly 10 years ago, we've looked for something to team up on, so this collaboration marks a dream come true. Neuromancer has inspired so much of the science fiction that's come after it and we're looking forward to bringing television audiences into Gibson's definitive 'cyberpunk' world."
The novel launched Gibson's "Sprawl" trilogy of novels (building on the dystopia in his 1982 short story "Burning Chrome"), also resurrecting the "Molly Millions" character from Johnny Mnemonic — an even earlier short story from 1981...

An anonymous reader shares a CR report: Based on the name, you'd think Filmmaker Mode is strictly for watching movies. But in our labs, we find that it can get you pretty close to what we consider to be the ideal settings for all types of programming. Filmmaker Mode is the product of a joint effort by the Hollywood film community, TV manufacturers, and the UHD Alliance to help consumers easily set up their TVs and watch shows and films as they were meant to be displayed. The preset has been widely praised by a host of well-known directors, including J.J. Abrams, Paul Thomas Anderson, James Cameron, Patty Jenkins, Rian Johnson, Christopher Nolan, Jordan Peele, and Martin Scorsese, as well as actors such as Tom Cruise. Right now, you can find Filmmaker Mode on TVs from Hisense, LG, Philips, Samsung, and Vizio. And more sets may get the feature this year.

Most newer TVs have fancy features that manufacturers say will improve the picture. But these features can actually have the opposite effect, degrading the fidelity of the image by altering how it was originally intended to look. To preserve the director's original intent, Filmmaker Mode shuts off all the extra processing a TV might apply to movies and shows, including both standard (SDR) and high dynamic range (HDR) content on 4K TVs. This involves preserving the TV's full contrast ratio, setting the correct aspect ratio, and maintaining the TV's color and frame rates, so films look more like what you'd see in a theater. For most of us, though, the biggest benefit of Filmmaker Mode is what the TV won't be doing. For example, it turns off motion smoothing, also referred to as motion interpolation, which can remove movies' filmlike look. (This is one of three TV features that it's best to stop using.) Motion-smoothing features were introduced because most films, and some TV shows, are shot at 24 frames per second, while most TVs display images at 60 or 120 frames per second. To deal with these mismatches, the TV adds made-up (interpolated) frames, filling in the gaps to keep the motion looking smooth. But this creates an artificial look, commonly called the soap opera effect. Think of a daytime TV show shot on video.

An anonymous reader quotes a report from Reuters: Independent browser companies in the European Union are seeing a spike in users in the first month after EU legislation forced Alphabet's Google, Microsoft and Apple to make it easier for users to switch to rivals, according to data provided to Reuters by six companies. The early results come after the EU's sweeping Digital Markets Act, which aims to remove unfair competition, took effect on March 7, forcing big tech companies to offer mobile users the ability to select from a list of available web browsers from a "choice screen." [...]

Cyprus-based Aloha Browser said users in the EU jumped 250% in March -- one of the first companies to give monthly growth numbers since the new regulations came in. Founded in 2016, Aloha, which markets itself as a privacy focused alternative to browsers owned by big tech, has 10 million monthly average users and earns money through paid subscriptions, rather than selling ads by tracking users. "Before, EU was our number four market, right now it's number two," Aloha CEO Andrew Frost Moroz said in an interview. Norway's Vivaldi, Germany's Ecosia and U.S.-based Brave have also seen user numbers rise following the new regulation. U.S.-based DuckDuckGo, which has about 100 million users, and its bigger rival, Norway-based Opera (OPRA.O), opens new tab are also seeing growth in users, but said the choice screen rollout is still not complete. "We are experiencing record user numbers in the EU right now," said Jan Standal, vice president at Opera, which counts over 324 million global users.

Under the new EU rules, mobile software makers are required to show a choice screen where users can select a browser, search engine and virtual assistant as they set up their phones. Previously, tech companies such as Apple and Google loaded phones with default settings that included their preferred services, such as the voice assistant Siri for iPhones. Changing these settings required a more complicated process. Apple is now showing up to 11 browsers in addition to Safari in the choice screens curated for each of the 27 countries in the EU, and will update those screens once every year for each country. While DuckDuckGo and Opera are offered in Apple's list, opens new tab in all 27 countries, Aloha is in 26 countries, Ecosia is in 13 and Vivaldi in 8. Google is currently showing browser choices on devices made by the company and said new devices made by other companies running Android operating system will also display choice screen in the coming months. A Google spokesperson said they do not have data on choice screens to share yet.

An anonymous reader writes: In the early 70s, young filmmakers John Carpenter and Dan O'Bannon created a spaceship tale for a graduation project -- little knowing it would influence Alien and many other works. Made for $60,000 by film school students, horror maestro John Carpenter's directorial debut Dark Star is now regarded as a sci-fi cult classic. Having just turned 50 years old, it's a world away from much of the sci-fi that came before it and would come after, neither space odyssey nor space opera, rather a bleak, downbeat and often absurd portrait of a group of people cooped together in a malfunctioning interstellar tin can. Arguably its most famous scene consists of an existential debate between an astronaut and a sentient bomb. Dark Star was a collaboration between Carpenter, who directed and scored the film, and Dan O'Bannon, who in addition to co-writing the script, acted as editor, production designer, and visual effects supervisor, as well as playing the volatile, paranoid Sergeant Pinback. They met as budding filmmakers at the University of Southern California. "While [Carpenter and O'Bannon] couldn't be more dissimilar in personality, they were both very energetic and focused," says Daniel Griffiths, director of Let There Be Light: The Odyssey of Dark Star (2010), the definitive documentary about the making of the film.

The sci-fi films of this period tended to be bleak and dystopian, explains John Kenneth Muir, author of The Films of John Carpenter -- films like Silent Running (1972), in which all plant life on Earth is extinct, or George Lucas's 1971 debut THX-1138, in which human emotion is suppressed. "Dark Star arrived in this world of dark, hopeless imaginings, but took the darkness one step further into absurd nihilism." Carpenter and O'Bannon set out to make the "ultimate riff on Stanley Kubrick's 2001: A Space Odyssey," says Griffiths. While Kubrick's 1968 film, explains Muir, was one "in which viewers sought meaning in the stars about the nature of humanity, there is no meaning to life in Dark Star". Rather, says Muir, it parodies 2001 "with its own sense of man's irrelevance in the scheme of things". Where Kubrick scored his film with classical music, Dark Star opens with a country song, Benson, Arizona. (A road in the real-life Benson is named in honor of the film). The film was even released with the tagline "the spaced-out odyssey." Dark Star captured the mood of the time in which it was made, says Muir, the atmosphere of Nixon's America. "The 1960s was all about utopian dreaming and bringing change to America in the counterculture. The 1970s represent what writer Johnny Byrne called 'The wake-up from the hippie dream', a reckoning with the fact that the more things change, the more they stay the same." [...]

When Dark Star premiered at the FILMEX expo in 1974, the audience response was largely positive. "They recognized the film's absurdist humor and celebrated its student film roots," says Griffiths. It had a limited theatrical release in 1975, but it was not a commercial success. "The film met with negative reviews from critics, and general disinterest from audiences," says Muir. "Both Carpenter and O'Bannon realized that all the struggles they endured to make the film did not matter to audiences, they only cared about the finished product. I think they were discouraged," says Griffiths. The growth of the VHS market, however, helped it find its audience and propelled it towards cult status. Its influence can still be felt, perhaps most directly in Ridley Scott's Alien, for which O'Bannon, who died in 2009, wrote the screenplay. The two films share DNA. Alien is also set on a grotty working vessel with a bickering crew, only this time the alien wasn't played for laughs.

Vizio has agreed to $3 million settlement over allegations it misled consumers on TV refresh rates. The TV maker denies wrongdoing but will cease advertising on "effective" refresh rates. Eligible buyers have until March 2024 to file claims and submit proof of purchase. Settlement includes enhanced one-year warranties. The Verge adds: TV makers often use marketing terms like "effective refresh rate" to refer to motion smoothing features, often called the "soap opera effect," that are intended to reduce motion blur on modern TVs. Motion smoothing is already controversial enough on its own, but companies like Vizio can be frustratingly casual with refresh rate terminology in their marketing.

Netflix's annual virtual event "Geeked Week" pre-announces its biggest upcoming shows. This year Netflix released a trailer for its upcoming adaptation of The Three-Body Problem, and for its new live-action Avatar: The Last Airbender series. (And there's also going to be some kind of live-action Stranger Things stage show opening in London in December.)

Variety noted the "explosive" new trailer for Zach Snyder's new "action-packed space opera" Rebel Moon. The film — which will also have a one-week theatrical run in December — takes place in the same universe as Snyder's Army of the Dead. But instead of being set in Las Vegas, "The story centers on a young woman living on the outskirts of a galaxy who must find a group of warriors to save the galaxy from an invasion from a tyrant."

The Verge pulled together a good rundown of all the other announcements — one of which involves Neil Gaiman: Following last year's The Sandman, Netflix is bringing even more beloved Neil Gaiman characters to the small screen. This time it's Dead Boy Detectives — which was originally slated to stream on Max — based on a crime-solving duo who made their debut in a Sandman comic in the '90s. The news was paired with the first trailer for the series, which shows off a pretty fun-looking supernatural whodunit...

Netflix says the new eight-episode series is part of its growing "Sandman universe"... with Gaiman serving as one of the executive producers. [Coming sometime in 2024]
They're also launching several animated series.

• Netflix released a short teaser for Terminator: the Anime Series.

• An animated new take on Ultraman.

• An animated He-Man reboot, Masters of the Universe: Revolution (with Mark Hamill providing the voice of Skeletor).

• An adult animated comedy series based on the card game Exploding Kittens. (The Verge writes that its trailer "features god in the body of a cat and a very confounding garage door" — and that there will also be an accompanying mobile game.)

• Netflix also has a new Chicken Run movie coming in December with its own tie-in game called Eggstraction.

The U.S. Copyright Office has again rejected copyright protection for art created using artificial intelligence, denying a request by artist Jason M. Allen for a copyright covering an award-winning image he created with the generative AI system Midjourney. From a report: The office said on Tuesday that Allen's science-fiction themed image "Theatre D'opera Spatial" was not entitled to copyright protection because it was not the product of human authorship. The Copyright Office in February rescinded copyrights for images that artist Kris Kashtanova created using Midjourney for a graphic novel called "Zarya of the Dawn," dismissing the argument that the images showed Kashtanova's own creative expression.

It has also rejected a copyright for an image that computer scientist Stephen Thaler said his AI system created autonomously. Allen said on Wednesday that the office's decision on his work was expected, but he was "certain we will win in the end." "If this stands, it is going to create more problems than it solves," Allen said. "This is going to create new and creative problems for the copyright office in ways we can't even speculate yet."

According to the Financial Times, Meta is preparing to launch AI-enabled chatbots with unique personalities, such as a surfer personality and a chatbot based on Abraham Lincoln. Engadget reports: This is an attempt to boost engagement across Meta's social media platforms, as human-like discussions tend to be more interesting than droll robotic responses. The company hasn't announced which of these platforms would host Abe Lincoln and his pals, though previous reports indicated Instagram, Messenger and WhatsApp would be recipients of this new technology. Meta staffers are calling these chatbots "personas" and they could launch as soon as September. These personas will provide a new way to search and they'll even offer recommendations, similar to how current chatbots work, though ChatGPT and the rest don't have Abraham Lincoln on the payroll (just don't ask him about the best local opera houses.)

FT notes that the chatbots could also collect vast amounts of personal data, something Meta has never shied away from. After all, you'll likely share more personal details with a human-like companion than one devoid of personality. The vast majority of Meta's yearly revenue comes from advertising, so go ahead and tell your good friend Abe all about your likes and dislikes. What's the worst that could happen?

ZipNada writes: A new reactor at a nuclear power plant in Georgia has entered commercial operation, becoming the first new American reactor built from scratch in decades. Georgia Power announced Monday that Unit 3 at Plant Vogtle, southeast of Augusta, has completed testing and is now sending power to the grid reliably. At its full output of 1,100 megawatts of electricity, Unit 3 can power 500,000 homes and businesses. Utilities in Georgia, Florida and Alabama are receiving the electricity.

Nuclear power now makes up about 25% of the generation of Georgia Power, the largest unit of Atlanta-based Southern Co. A fourth reactor is also nearing completion at the site, where two earlier reactors have been generating electricity for decades. The Nuclear Regulatory Commission on Friday said radioactive fuel could be loaded into Unit 4, a step expected to take place before the end of September. Unit 4 is scheduled to enter commercial operation by March. The third and fourth reactors were originally supposed to cost $14 billion, but are now on track to cost their owners $31 billion. That doesn't include $3.7 billion that original contractor Westinghouse paid to the owners to walk away from the project. That brings total spending to almost $35 billion. The third reactor was supposed to start generating power in 2016 when construction began in 2009.

An anonymous reader shared this report from BGR: Last year, Microsoft Edge surpassed Safari as the second most popular desktop browser. Now, new data from Statcounter shows that Apple's browser has finally regained second place.

The full ranking shows that Google Chrome remains the most used browser... It's also interesting to note that after Firefox almost surpassed Safari in February of 2022, the browser is still losing its base to Microsoft Edge and Safari... Even the all-mighty Google Chrome has lost a bit of userbase, as it had 66.64% of users last April and now has 66.13%.
The final rankings (with data from April 2023):

• Google Chrome: 66.13%
• Safari: 11.87%
• Microsoft Edge: 11%
• Firefox: 5.65%
• Opera 3.09%
• Internet Explorer: 0.55%

Vivaldi is a browser founded by Opera co-founder Jon Stephenson von Tetzchner and launched in 2016 with a heavy focus on privacy and customizations. As someone who has worked on the internet since 1992, Tetzchner has a lot of thoughts on the state of the internet in 2023, especially when it comes to advertising. XDA spoke with Tetzchner at this year's Mobile World Congress, and it's clear to him that advertisers "stole the internet from us." From the report: For the unfamiliar, Android's Privacy Sandbox can track users by creating an offline profile on them and show relevant advertisements based on that. It's a multi-year initiative to introduce more private advertising solutions to end-users and is made possible thanks to the Topics API and FLEDGE. Its goal is to prioritize user privacy by default but still maintain the mobile ecosystem dependent on advertising to support free and ad-supported apps. This is an exclusive-to-Android solution that uses a standalone SDK, separate from the rest of the application code, with the aim of eventually replacing Ad ID. However, Tetzchner doesn't see a difference between standard tracking and companies using the Topics API.

"For us, how you technically do the tracking, you can say it's a little bit better to do it client-side than server-side, but for me, the idea that your browser is building a profile on you... No, no, no, that's wrong. That's just wrong," he tells me. It's not quite where the data goes that seems to bother him the most, but what that data can be used to achieve. He mentions how this data can be used to influence how people vote, a la Cambridge Analytica. Whether that data is on your device or not is irrelevant; political advertisements will still appear regardless. "They stole the internet from us", he says of advertisers. "The internet is supposed to be open and free, and you shouldn't be afraid of being monitored. The idea that you are collecting data to provide ads... I can understand having access to a lot of data to provide a service, but that's not the same as profiling your users."

[...] Tetzchner is deeply disheartened with the state of it. In fact, he believes the current state of advertising is less profitable for sites now than it was before widespread tracking was in place. He mentions "normal ads," which you may see in a magazine or on TV, were the standard for about a decade, even on the internet. "A lot of sites were more profitable, and people were less worried about having to block ads. The ads were normal, it was kind of like what you were seeing if you were going and reading a magazine. There were ads, but they weren't following you." He points out that paywalls have become commonplace across the internet when that wasn't the case 15 years ago. "How is it then that we needed the change that actually created that situation?" he asks. He argues that advertisements are less profitable as a whole thanks to widespread tracking. Advertisers previously paid more because they knew exactly where their advertisements were going. Now with algorithms and Google Ads, not everything is high quality, even if those algorithms try to scan pages for quality content.

Valentine's Day saw Mozilla releasing version 110.0 of its Firefox browser. OMG Ubuntu highlights some of its new features: Firefox already supports importing bookmarks, history, and passwords from Microsoft Edge, Google Chrome, Chromium, and Safari but once you have the Firefox 110 update you can also import data from Opera, Opera GX, and Vivaldi too — which is handy.

Other changes in Firefox 110 include the ability to clear date, time, and datetime-local input fields using using ctrl + backspace and ctrl + delete on Linux (and Windows) — no, can't say I ever noticed I couldn't do that, either.

Additionally, Mozilla say GPU-accelerated Canvas2D is now enabled by default on Linux, and we can all expect to benefit from a miscellaneous clutch of WebGL performance improvements.

"Opera's adding a ChatGPT-powered tool to its sidebar that generates brief summaries of webpages and articles," reports the Verge: "The feature, called 'shorten,' is part of the company's broader plans to integrate AI tools into its browser, similar to what Microsoft's doing with Edge."

The "shorten" feature isn't available to everyone just yet, though. Jan Standel, the vice president of marketing and communications at Opera, tells The Verge that it's going to "launch in browsers very soon." Opera's also working on other AI-powered features that "augment" the browsing experience and plans on adding "popular AI-generated content services to the sidebar," although it's not yet clear what this could entail.
In the blog post Opera's EVP for PC Browsers and Gaming shared their belief that "with AI solutions springing up both for text, image, and audio generation and in countless other forms, we are at the brink of a new era of creativity on the Web."

The post says the forthcoming AI integration follows their "track record of giving users direct access to the internet's most in-demand platforms, such as TikTok, Telegram, and WhatsApp." And Opera's co-CEO added that "Whether inventing browser tabs or providing our users with built-in access to generative AI tools, we always push the limits of what's possible on the web."

Mozilla recently fixed a bug that was first reported 18 years ago in Firebox 1.0, reports How-to Geek: Bug 290125 was first reported on April 12, 2005, only a few days before the release of Firefox 1.0.3, and outlined an issue with how Firefox rendered text with the ::first-letter CSS pseudo-element. The author said, "when floating left a :first-letter (to produce a dropcap), Gecko ignores any declared line-height and inherits the line-height of the parent box. [...] Both Opera 7.5+ and Safari 1.0+ correctly handle this."

The initial problem was that the Mac version of Firefox handled line heights differently than Firefox on other platforms, which was fixed in time for Firefox 3.0 in 2007. The issue was then re-opened in 2014, when it was decided in a CSS Working Group meeting that Firefox's special handling of line heights didn't meet CSS specifications and was causing compatibility problems. It led to some sites with a large first letter in blocks of text, like The Verge and The Guardian, render incorrectly in Firefox compared to other browsers.

The issue was still marked as low priority, so progress continued slowly, until it was finally marked as fixed on December 20, 2022. Firefox 110 should include the updated code, which is expected to roll out to everyone in February 2023.

An anonymous reader quotes a report from Motherboard: A man came in first at the Colorado State Fair's fine art competition using an AI generated artwork on Monday. "I won first place," a user going by Sincarnate said in a Discord post above photos of the AI-generated canvases hanging at the fair. Sincarnate's name is Jason Allen, who is president of Colorado-based tabletop gaming company Incarnate Games. According to the state fair's website (PDF), he won in the digital art category with a work called "Theatre D'opera Spatial." The image, which Allen printed on canvas for submission, is gorgeous. It depicts a strange scene that looks like it could be from a space opera, and it looks like a masterfully done painting. Classical figures in a Baroque hall stair through a circular viewport into a sun-drenched and radiant landscape.

But Allen did not paint "Theatre D'opera Spatial," AI software called Midjourney did. It used his prompts, but Allen did not wield a digital brush. This distinction has caused controversy on Twitter where working artists and enthusiasts accused Allen of hastening the death of creative jobs. "TL;DR -- Someone entered an art competition with an AI-generated piece and won the first prize," artist Genel Jumalon said in a viral tweet about Allen's win. "Yeah that's pretty fucking shitty." "We're watching the death of artistry unfold before our eyes," a Twitter user going by OmniMorpho said in a reply that gained over 2,000 likes. "If creative jobs aren't safe from machines, then even high-skilled jobs are in danger of becoming obsolete. What will we have then?" "I knew this would be controversial," Allen said in the Midjourney Discord server on Tuesday. "How interesting is it to see how all these people on Twitter who are against AI generated art are the first ones to throw the human under the bus by discrediting the human element! Does this seem hypocritical to you guys?"

He added: "I have been exploring a special prompt that I will be publishing at a later date, I have created 100s of images using it, and after many weeks of fine tuning and curating my gens, I chose my top 3 and had them printed on canvas after unshackling with Gigapixel AI," he wrote in a post before the winners were announced.

"What if we looked at it from the other extreme, what if an artist made a wildly difficult and complicated series of restraints in order to create a piece, say, they made their art while hanging upside-down and being whipped while painting," he said. "Should this artist's work be evaluated differently than another artist that created the same piece 'normally'? I know what will become of this in the end, they are simply going to create an 'artificial intelligence art' category I imagine for things like this."

Beacon of Galaxy message could be sent into heart of Milky Way, where life is deemed most likely to exist. From a report: "Even if the aliens are short, dour and sexually obsessed," the late cosmologist Carl Sagan once mused, "if they're here, I want to know about them." Driven by the same mindset, a Nasa-led team of international scientists has developed a new message that it proposes to beam across the galaxy in the hope of making first contact with intelligent extraterrestrials. The interstellar missive, known as the Beacon in the Galaxy, opens with simple principles for communication, some basic concepts in maths and physics, the constituents of DNA, and closes with information about humans, the Earth, and a return address should any distant recipients be minded to reply.

The group of researchers, headed by Dr Jonathan Jiang at Nasa's Jet Propulsion Laboratory in California, says that with technical upgrades the binary message could be broadcast into the heart of the Milky Way by the Seti Institute's Allen Telescope Array in California and the 500-metre Aperture Spherical Radio Telescope in China. In a preliminary paper, which has not been peer reviewed, the scientists recommend sending the message to a dense ring of stars near the centre of the Milky Way -- a region deemed most promising for life to have emerged.

"Humanity has, we contend, a compelling story to share and the desire to know of others -- and now has the means to do so," the scientists write. The message, if it ever leaves Earth, would not be the first. The Beacon in the Galaxy is loosely based on the Arecibo message sent in 1974 from an observatory of the same name in Puerto Rico. That targeted a cluster of stars about 25,000 light years away, so it will not arrive any time soon. Since then, a host of messages have been beamed into the heavens including an advert for Doritos and an invitation, written in Klingon, to a Klingon Opera in The Hague.

As viewership drops for Hollywood's annual Academy Awards ceremony, "Everyone has a theory about the decline..." argues an opinion piece in the New York Times.

"My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing." When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, "Dune," barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021. All told, the 10 nominees together have earned barely one-fourth as much at the domestic box office as "Spider-Man: No Way Home." Even when Hollywood tries to conjure the old magic, in other words, the public isn't there for it anymore.... Sure, non-superhero-movie box office totals will bounce back in 2022, and next year's best picture nominees will probably earn a little more in theaters. Within the larger arc of Hollywood history, though, this is the time to call it: We aren't just watching the decline of the Oscars; we're watching the End of the Movies....

[W]hat looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation.... The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood's potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema's communalism. Special effects opened spectacular (if sometimes antiseptic-seeming) vistas and enabled long-unfilmable stories to reach big screens. But the effects-driven blockbuster, more than its 1980s antecedents, empowered a fandom culture that offered built-in audiences to studios, but at the price of subordinating traditional aspects of cinema to the demands of the Jedi religion or the Marvel cult. And all these shifts encouraged and were encouraged by a more general teenage-ification of Western culture, the extension of adolescent tastes and entertainment habits deeper into whatever adulthood means today....

Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There's no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences. The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined...

[T]he caliber of instantly available TV entertainment exceeds anything on cable 20 years ago. But these productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.
The article argues that episodic TV also cedes the Movies' power of an-entire-story-in-one-go condensation. ("This power is why the greatest movies feel more complete than almost any long-form television.") And it ultimately suggests that like opera or ballet, these grand old movies need "encouragement and patronage, to educate people into loves that earlier eras took for granted," and maybe even "an emphasis on making the encounter with great cinema a part of a liberal arts education. "

In 2014 one lone film-maker had even argued that Ben Stiller's spectacular-yet-thoughtful Secret Life of Walter Mitty "might be the last of a dying breed."

Web browser company Opera said Monday it will enable emoji-only based web addresses "to bring a new level of creativity to the internet." From a report: The integration is part of a partnership with Yat, a company that sells URLs with strings of emoji in them. "It's been almost 30 years since the world wide web launched to the public, and there hasn't been much innovation in the weblink space: people still include .com in their URLs," Jorgen Arnesen, executive vice president of mobile at Opera, said in a press release.