New discoveries challenge old ideas about the earliest alphabets.

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Cascadeur 2025.1 introduces Inbetweening, which automatically generates smooth animations between two poses, along with upgraded AutoPosing and AutoPhysics, featuring multi-character Ragdoll with custom collision support.Details: https://80.lv/articles/cascadeur-2025-1-can-auto-generate-motion-between-poses/

Mesh > convert to SDF grid > sdf boolean > convert to mesh is a pretty interesting workflow in 4.5 alpha, made possible by the experimental volume nodes, yet I can't wrap my head around how to even start *beveling* any edges? :D#b3d #blender3d

Enhance your 3D characters with this pre-made realistic hairstyle a realistic, customizable Afro hairstyle compatible with Blender, Unreal Engine, and MetaHuman. https://flipnm.co/afroHairstyle

@amuse:UK: After learning of the murder of three young British girls Lucy Connolly wrote, "Mass deportation now, set fire to all the f'ing hotels full of the b'ds for all I care, while youre at it take the treacherous government and politicians with them. I feel physically sick knowing

When Robots Take Our Jobs, Who Pays? My Journey into the AI Tax Debate6 min readJust now--A delivery robot crosses a quiet street a small harbinger of a future where machines handle tasks once done by humans.A few months ago, while scrolling through economic headlines, I stumbled upon a curious suggestion from an Indian think tank: a proposal for a robot tax aimed at companies using AI to replace human workers. It sounded equal parts futuristic and philosophical. Can you really tax robots? What would that even look like?As someone who lives at the crossroads of technology and strategy, I found myself intrigued. I believe in the transformative power of AI but Im equally concerned about the silent costs that progress can leave behind. And thats where the idea of an AI tax steps in: a controversial, complex, yet deeply timely concept that tries to answer a simple question if technology takes your job, who pays?Lets explore what an AI tax really mean? Is it the answer to automation-induced unemployment or a misguided brake on innovation? Can we learn anything from history? And above all, how do we ensure that the benefits of AI dont come at the cost of human dignity?What Is an AI Tax?The term AI tax or robot tax is often used interchangeably to describe a policy tool designed to make companies financially accountable for replacing human workers with automation. The idea: if a business lays off people because machines or AI systems are doing their jobs, then that business should pay a tax similar to what it would have paid in income or payroll taxes if those workers were still employed.The revenue from such a tax could be used in two major ways:To fund government services that would otherwise suffer due to falling payroll and income tax revenues.To support displaced workers through unemployment benefits, reskilling programs, or subsidies for transition into new jobs.Its not just a hypothetical. Politicians and economists globally have floated variations of this concept. Microsoft founder Bill Gates, for example, once suggested that if robots replace humans, then they should be taxed like humans. In India, proposals have been made to tax companies profiting from labor replacement by AI. Some U.S. states, like New York, have even introduced preliminary bills to that effect.But before we dive into whether such a tax makes sense, I wanted to step back and look at history.History Repeats: Lessons from the Industrial RevolutionThe question of machines taking human jobs is not new. In the early 19th century, the Industrial Revolution brought mechanical looms, steam engines, and factories. With them came economic growth and mass displacement.One group of workers, the Luddites, became infamous for smashing machines that had rendered their weaving skills obsolete. Though often dismissed as technophobes, the Luddites were really just fighting for survival in a world changing too quickly.Eventually, industrialization did lead to more jobs and better productivity but not without decades of social pain, wage stagnation, and unrest. The state stepped in with reforms: minimum wage laws, the 40-hour workweek, unemployment insurance, and eventually the welfare state. These werent immediate, but reactive.The parallels with today are clear. AI is our modern-day steam engine. And while it might birth new industries, the transition could be harsh for many. The question is: Can we manage this disruption more thoughtfully than we did in the past?Global Perspectives: Different Approaches, Shared ConcernsAcross the globe, countries are grappling with the implications of automation but their policy responses vary.South Korea curtailed tax breaks for automation in 2017, signaling concern about falling income tax revenues and rising unemployment.The European Union debated a robot tax but ultimately rejected it, focusing instead on ethical AI guidelines.The U.S., despite some voices like Bernie Sanders advocating for it, has not taken substantial federal action but proposals have emerged at the state level.India has seen economists and think tanks recommend an AI tax to support reskilling efforts in sectors like IT and finance.Interestingly, even countries that are highly pro-automation, like Japan and China, face their own dilemmas. In Japan, automation is seen as a solution to labor shortages caused by an aging population. In China, the state is more focused on leading in AI than regulating its labor impact at least for now.Clearly, there is no global consensus. But theres a shared anxiety: how to balance automation-driven growth with employment security.Who Should Pay the AI Tax?If an AI tax is implemented, who should be taxed? The developers of AI platforms like OpenAI, Google, or Microsoft? Or the companies that deploy these tools like banks, retailers, and manufacturers?There are two schools of thought:Tax the user: This is the most common suggestion. If a company replaces 100 workers with an AI system, they should pay a tax roughly equivalent to what they would have contributed in payroll taxes.Tax the creator: Some argue that the major tech firms profiting from AI proliferation should share responsibility, especially if their tools broadly disrupt entire industries.Practically, taxing the deploying company is more enforceable. It ties the tax to a clear outcome: fewer employees. But it doesnt absolve platform companies of ethical responsibility. Some, like Sam Altman of OpenAI, have even suggested distributing AI-generated wealth via a global AI dividend.Why Tax AI at All?Supporters of the AI tax argue it can:Offset lost income tax revenues, especially if millions of people are no longer earning salaries.Fund social protections, like unemployment insurance, training programs, or even wage subsidies.Slow down runaway automation, giving society time to adapt.Critics, on the other hand, raise valid concerns:It could stifle innovation by making automation less attractive.Its hard to define and measure what counts as job-displacing AI.It might create perverse incentives, pushing companies to offshore or use contract labor instead.These are real challenges. But as weve seen in environmental or data privacy regulation, thoughtful policy design can navigate such tensions.Alternatives to the AI TaxEven if the AI tax isnt the silver bullet, it opens the door to important conversations about economic adaptation.Some alternative or complementary ideas include:Job guarantee programs: Governments act as employers of last resort, offering socially useful work in areas like caregiving or climate resilience.Shorter workweeks: Redistribute work by reducing hours per worker without reducing pay an idea already being tested in several countries. Interestingly, Bill Gates once floated the idea of a two- or three-day workweek as a long-term consequence of automation. But that raises practical questions: would salaries be cut in half? Not necessarily, Gates suggested, if productivity continues to rise dramatically. The idea is that with machines doing more of the routine work, humans could work fewer hours while maintaining similar output and potentially similar pay provided the gains from productivity are shared equitably.Reskilling at scale: Create lifelong learning ecosystems with training vouchers, partnerships with industry, and community education hubs.Wage insurance and transition funds: Help workers who move into lower-paid roles by supplementing their income temporarily.While Im personally skeptical of Universal Basic Income (UBI), I believe in ensuring purposeful livelihoods, not just passive financial support. People want to work not just for money, but for meaning.Final Thoughts: Its About ChoicesAn AI tax wont be easy to implement. But the broader question it poses is urgent: how do we balance innovation with inclusion? Do we let the market decide who wins and who gets left behind or do we steer the ship more deliberately?History shows us what happens when we let disruption play out without safeguards. People suffer, societies fracture. If we are truly at the cusp of an AI-driven revolution, then we must decide not just how fast we go, but who we take along.Ill be watching these debates closely, and perhaps even contributing to policy ideas. But Ill leave you with this question:In a world where machines can do more and more of what humans once did, what responsibilities do we place on the companies deploying them? And what kind of society do we want to build in response?

Strands is a daily word puzzle game that pits you against a massive jumble of random letters. That grid of letters holds a selection of themed words, but those words are secret, hiding behind the single clue you get.

Ajinomoto, the Japanese firm behind MSG, is ramping up production of ABF, a key material used in semiconductor packaging.

InAbbey RoadsStudio One, even a lick of paint could ruin everything.Famous for hosting Adele, Harry Styles, and U2, its where the scores of Star Wars, Harry Potter, and Wicked were recorded, as well as the soundtracks of blockbuster games like Call of Duty, Halo, and Final Fantasy. Its also where Ryan Gosling delivered his memorable Im Just Kenfor Barbie.Nearly a century after its opening, Studio One underwent a six-month, multimillion-pound refurbishment, with the main priority being the preservation of one very important thing: the sound.What we dont want to do is change the acoustics, so every minute detail in the room has been conserved and preserved, so the sound doesnt shift, said Sally Davies, managing director of Abbey Road Studios.The reverb of the 4,844-square-foot room has been maintained at 2.3 seconds, the same as it was in the 1970s. Theres been no redecorating or style makeover, leaving the originalart deco wall panelsuntouched.We have simply washed down the walls to preserve that sound, said Davies, adding that the floor was re-sanded and oiled, but not varnished. Most of the upgrades, she explained, are technological upgrades in the control room. This room is just about preserving that magic.A pilgrimage for music fansOpened in 1931, this hallowed hallonce a nine-bedroom house on a grand suburban street in Londons St. Johns Wood neighborhoodbecame the worlds first recording studio. Its where stereo was invented and its visited every day by music fans from around the world, who are happy just to stand on the street outside.Davies says that more than a million people a year make a pilgrimage to the crossing outside, many to recreate the cover ofthe Beatles Abbey Road albumand that number could increase afterSam Mendess upcoming biopicsstarring Paul Mescal, Barry Keoghan, Harris Dickinson, and Joseph Quinn as the Fab Four.And while John Lennon, Paul McCartney, George Harrison, and Ringo Starr are famously known for using Studio Two, they also made history in the larger Studio One, which they used for the worlds first global live performance, a rendition of All You Need Is Love beamed to television sets around the world in 1967.Before the Beatles, Studio One had already cemented its place in music history, when it was opened by British composer Sir Edward Elgar, who recorded his Land of Hope and Glory with the London Symphony Orchestra. Its also hosted other music greats like Maria Callas, Igor Stravinsky, Daniel Barenboim, Fats Waller, and Glenn Miller.Due to its huge size, more than double Studio Two, it can fit a 100-piece orchestra and 100-member choir at the same timewhich is perfect for recording film soundtracks, and explains why 6 to 7 out of every 10 Hollywood films are scored at Abbey Road, according to the studio.History being madeStanding on the balcony, overlooking the 40-foot-high room, Davies points out the original screen that was used to show Raiders of the Lost Ark (1981) while musicians played along to record the soundtrack.Since then, everything from The Lord of the Rings trilogy to Marvels Black Panther and Guardians of the Galaxy to Barbie were scored in Studio One. For the last, all the musicians came in with something pink, whether a pink instrument or piece of clothing.Oscar-nominated composer Daniel Pemberton has been recording in Studio One since 2009 and calls his creative home a spectacular space.Outside, it just looks like a normal house. And then you come in and you find this space in it thats like almost the size of a football pitch. In fact, I have played football in there once, he laughs.Pemberton is known for scoring Spider-Man: Across the Spider Verse, Ferrari, and The Trial of the Chicago 7, and creating the Slow Horses theme song and Strange Game, withMick Jagger.Whats so exciting about a room like Studio One is what happens on the day is what happens for the rest of time, he says. Its like history is being made, whether its good history or bad history or whatever, youre making a moment then.Pemberton notes the stories, whether personal or musical, that have unfolded within the walls of Studio One.The ghosts are insane in there, he said.Davies agrees that the history adds to the enchantment.You walk into this room and you can feel it. ... There is a magic in the sound. It sounds phenomenal. There is a spirituality in who has been here, who has performed here, she says. So when we see artists come through, you know that immediate reaction of, Oh my gosh. Im in Studio One.To celebrate the reopening this week, Abbey Road Studios showcased an unusual art form for the space: dance, which incorporated Pembertons scores, remixed by resident artist Jordan Rakei and choreographed by Joseph Toonga.It kind of like threw me back a bit like, wow, it really is big, said Toonga of the first time he saw the studio. He then incorporated that feeling into a dance which spanned hip-hop, krumping, and ballet.Up next, the first client to record in Studio One since the refurbishment is a hush-hush Hollywood franchise.But there are lots of secrets at Abbey Road. One of them is Pembertons plan to record the unique rattling sound of the new railings for a movie soundtrack.There was concern that the hollow, art deco-style bars would upset the acoustics of the room, and a backup plan was made to fill them with sand if they messed with the reverb.Luckily, the empty bars were allowed to stay because Pemberton is delighted by the noise they make when you run past them with keysits another dramatic sound that can only be created in Studio One and will make its way into theaters around the world, via a film score.By Hilary Fox, Associated Press