Smartphones, laptops, and other products that are exempt from Trump’s April 9th tariffs will be lumped in with duties on semiconductors in “a month or two,” Commerce Secretary Howard Lutnick told ABC News anchor Jonathan Karl on This Week. Yesterday, the Trump administration released updated guidance that excluded smartphones, laptops, and more from Trump’s new tariffs, including the 125 percent additional levy on Chinese-produced goods last week. “This is not like a permanent sort of exemption,” Lutnick told Karl, saying that they will be subject later to “a special focus type of tariff” applied to the semiconductor industry, similar to automotive tariffs Trump has already issued. When asked if the new tariffs will include products like iPhones, many of which are built in China, Lutnick said that’s “correct” and that the goal is to “encourage them to reshore, to be built in America.” ”It’s not like you can open a factory tomorrow to build iPhones,” Karl said, before asking if these coming tariffs will mean higher prices for goods in the US. Lutnick responded:  I don’t necessarily think so. I think the idea is that we can manufacture here in America. As I said, there’s a — I saw Panasonic, the battery company. Right? A Japanese company. They built an amazing factory in Kansas, which they’re opening now. They were putting it in the ground when Donald Trump was President, just finishing now. Lutnick may be referring to an EV plant Panasonic announced it had broken ground on in November 2022. Panasonic reportedly stands to gain billions in incentives for the plant under the Biden-era Inflation Reduction Act, which Trump has threatened to “rescind all unspent funds” from.

Artificial intelligence systems have made significant strides in simulating human-style reasoning, particularly mathematics and logic. These models don’t just generate answers—they walk through a series of logical steps to reach conclusions, offering insights into how and why those answers are produced. This step-by-step reasoning, often called Chain-of-Thought (CoT), has become vital in how machines handle complex problem-solving tasks. A common problem researchers encounter with these models is inefficiency during inference. Reasoning models often continue processing even after reaching a correct conclusion. This overthinking results in the unnecessary generation of tokens, increasing computational cost. Whether these models have an internal sense of correctness remains unclear—do they realize when an intermediate answer is right? If they could identify this internally, the models could halt processing earlier, becoming more efficient without losing accuracy. Many current approaches measure a model’s confidence through verbal prompts or by analyzing multiple outputs. These black-box strategies ask the model to report how sure it is of its answer. However, they are often imprecise and computationally expensive. On the other hand, white-box methods investigate models’ internal hidden states to extract signals that may correlate with answer correctness. Prior work shows that a model’s internal states can indicate the validity of final answers, but applying this to intermediate steps in long reasoning chains is still an underexplored direction. The research introduced by a team from New York University and NYU Shanghai tackled this gap by designing a lightweight probe—a simple two-layer neural network—to inspect a model’s hidden states at intermediate reasoning steps. The models used for experimentation included the DeepSeek-R1-Distill series and QwQ-32B, known for their step-by-step reasoning capabilities. These models were tested across various datasets involving mathematical and logical tasks. The researchers trained their probe to read the internal state associated with each chunk of reasoning and predict whether the current intermediate answer was correct. To construct their approach, the researchers first segmented each long CoT output into smaller parts or chunks, using markers like “wait” or “verify” to identify breaks in reasoning. They used the last token’s hidden state in each chunk as a representation and matched this to a correctness label, which was judged using another model. These representations were then used to train the probe on binary classification tasks. The probe was fine-tuned using grid search across hyperparameters like learning rate and hidden layer size, with most models converging to linear probes—indicating that correctness information is often linearly embedded in the hidden states. The probe worked for fully formed answers and showed the ability to predict correctness before an answer was even completed, hinting at look-ahead capabilities. Performance results were clear and quantifiable. The probes achieved ROC-AUC scores exceeding 0.9 for some datasets like AIME when using models like R1-Distill-Qwen-32B. Expected Calibration Errors (ECE) remained under 0.1, showing high reliability. For example, R1-Distill-Qwen-32B had an ECE of just 0.01 on GSM8K and 0.06 on MATH datasets. In application, the probe was used to implement a confidence-based early exit strategy during inference. The reasoning process was stopped when the probe’s confidence in an answer exceeded a threshold. At a confidence threshold of 0.85, the accuracy remained at 88.2%, while the inference token count was reduced by 24%. Even at a threshold of 0.9, accuracy stayed at 88.6%, with a 19% token reduction. Compared to static exit methods, this dynamic strategy achieved up to 5% higher accuracy using the same or fewer tokens. This study offers an efficient, integrated way for reasoning models to self-verify during inference. The researchers’ approach pinpoints a gap—while models inherently know when they’re right, they don’t act on it. The research reveals a path toward smarter, more efficient reasoning systems by leveraging internal representations through probing. It shows that tapping into what the model already “knows” can lead to meaningful performance and resource use improvements. Check out Paper. All credit for this research goes to the researchers of this project. Also, feel free to follow us on Twitter and don’t forget to join our 85k+ ML SubReddit. NikhilNikhil is an intern consultant at Marktechpost. He is pursuing an integrated dual degree in Materials at the Indian Institute of Technology, Kharagpur. Nikhil is an AI/ML enthusiast who is always researching applications in fields like biomaterials and biomedical science. With a strong background in Material Science, he is exploring new advancements and creating opportunities to contribute.Nikhilhttps://www.marktechpost.com/author/nikhil0980/Step by Step Guide on Converting Text to High-Quality Audio Using an Open Source TTS Model on Hugging Face: Including Detailed Audio File Analysis and Diagnostic Tools in PythonNikhilhttps://www.marktechpost.com/author/nikhil0980/This AI Paper from Salesforce Introduces VLM2VEC and MMEB: A Contrastive Framework and Benchmark for Universal Multimodal EmbeddingsNikhilhttps://www.marktechpost.com/author/nikhil0980/Complete Guide: Working with CSV/Excel Files and EDA in PythonNikhilhttps://www.marktechpost.com/author/nikhil0980/Google Releases Agent Development Kit (ADK): An Open-Source AI Framework Integrated with Gemini to Build, Manage, Evaluate and Deploy Multi Agents

While director Ryan Coogler’s new film Sinners is ostensibly a vampire horror film, what makes it a truly unique cinematic experience is how it brings a distinct time and place to life (Mississippi in the 1930s) while using the blues – once blasted by preachers as “the devil’s music” – to explore the lives of its largely African-American cast of characters, led by Michael B. Jordan as twin brothers Smoke and Stack. “In addition to the hemoglobin vampires crave, Sinners has music flowing through its veins, starting with the blues that Sammie [Miles Caton] and respected local musician Delta Slim (Delroy Lindo) are hired to perform at Smoke and Stack’s place,” Eric Goldman wrote in his rave Sinners review for IGN. “Coogler uses this as a focal point for a larger look at how music means so much to people of all walks of life, bonding them across generations, even when they themselves don’t ponder the lineage at work. Remmick (Jack O’Connell), the charming and charismatic leader of the vampires, provides a fascinating parallel to all the amazing blues on the soundtrack: The Irish folk tunes of his ancestors factor into Sinners, too, in continually bigger and bolder ways.”Coogler thus uses two forms of traditional music – African-American blues and Irish folk – as a way to illuminate the respective painful colonial pasts that the humans and the vampires share. Both forms of music receive bravura set pieces at different points that, as Goldman puts it, makes Sinners “musical adjacent” and “lets us both see and hear how music reverberates through time and immortalizes the people who make it.”I recently chatted with Ryan Coogler about Sinners’ use of blues and Irish music, its standout set-pieces, and why the vampire villain of Sinners was as personal a character for Coogler to write as Killmonger was in Black Panther. (The following interview has been edited for clarity.)PlayIGN: Can you talk about what blues music means to this world and these characters?Ryan Coogler: What it means to the characters is, I think it's an affirmation of that full humanity. And it goes hand in hand with church, which is why it has that genre of music. That's some of the first music that's known in the United States. We call it the devil's music. And it was a lot of judgment lofted against that music and the culture surrounding it. But I think that the church is for the soul, but the blues music is for the full body. The soul and the flesh. It acknowledges the flesh and the pain that comes with a situation, the sexual desire, the anger. The whims of the flesh and the soul are acknowledged there. I think that the music is an affirmation of humanity. It's a rebellion against the situation that these people were in. And had been in generationally. But it's also a celebration of that beauty. It's the full dose, the full human condition. Whereas, the church is somewhat edited, the bad parts cut out.And there's an inherent room for the accusation of hypocrisy there when you cutting out the bad, and not acknowledging the bad. There's no hypocrisy in the blues as it was. It accepts you. It says, "I'm a bad man, I'm a piece of shit." I'm married, but this woman here? I like her too. It's an acknowledgement of all the flaws, but also, the soul is there too. I think that in the juke joint, which is the box that people can go and listen to the blues, it's a safe haven to be fully yourself. A place where maybe you don't got to hide what you really want, what you really desire, who you really are. It's hard to be sexy in a cotton field. But I can show that part on myself here."I've never felt about an antagonist how I felt about Remmick. I just loved writing him.“IGN: What’s your read on the vampire community? They bring all these people of different races and backgrounds together but now they’re a collective rather than individual. There’s probably a lot of ways people could interpret what that means.Ryan Coogler: Look, I love this movie, man. And for me, I want to give it to audiences as raw as I can. For me, as soon as April 18th comes, man, it don't belong to me and Zenzie and Sev and the filmmakers anymore. It's you guys' now. And I wanted it to be fully for the audience, man. And whatever people see in it, it should have its validity. I will say that I wrote... The Killmonger that's on screen [in Black Panther] is from my heart, in that movie. I've never felt about an antagonist how I felt about Remmick. I just loved writing him. And I loved directing Jack and his choices. And for me, my heart is very much with that character. I wanted the character to be a master vampire. Because there's just so many different ways you could take vampires. You have the horde, where there's an old leader. Or you could have the band of vampires where the leader is not as clear. It's more egalitarian. And you meet them all together, like Kiefer Sutherland's character in Lost Boys. He's obviously the leader, but you meet them together. They're already a fully formed group. For this one, I was interested in meeting the one and watching the group develop. And learning more about him as the movie goes on. But I love this character. I love him presenting as one thing. Not just in terms of the vampirism, but presenting at one thing and being something completely different. Their fear of him being this racist guy, and learning that his view on race is the opposite. That, to me, was very powerful. If he actually identifies with these people. These are the people he wants to hang out with. And that, for me, it made me so excited because I hadn't seen that just yet.25 Best Vampire Movies of All TimeIGN: My two favorite sequences in this movie are the two big showstopping musical set pieces. The juke joint one and then the vampires get theirs too.Ryan Coogler: Mine too. The movie's about that. The movie's about what (Remmick) said is fellowship and love. The movie doesn't work without those scenes, to understand what it looks like. And these are people who, due to the circumstances of the imperial structures that were attempting and would be successful in dominating these people. They weren't allowed to do this for a reason. When you talk about [Irish] step dance, it was an act of rebellion. In the form of it, the stiffness of it that we come to know, it's because it wasn't allowed. For this character to come find his way to Clarksdale in 1932, who does he identify with? Where does he want to spend Saturday night? Those questions, for me, it just fired me up, bro, when we were making it. Because this is a cynical audience we're releasing this movie too, bro. 2025, bro. People seen it all. And I want to give the audience an experience that I had at times that weren't as cynical. When I walk into a theater and I'm in the drive-in in the early ‘90s and nobody has seen a dinosaur next to a jeep. Nah, I was like, "Wait, what?" A dinosaur in an industrial kitchen. I wanted to give all the audiences that feeling, if I could, in this vampire movie.Sinners GalleryIGN: The juke joint sequence is particularly amazing because it's staged as a one-er. You're playing with time, and you're showing the cultural crossovers too. Visually, you're showing us how music is timeless, or at least what it brings out in people is timeless. At what point did you realize you wanted to play with time in that scene?Ryan Coogler: It was during the writing process. But also realizing that just vampirism wasn't enough. There had to be other supernatural elements to this. And if I could, through cinematic language, portray what it feels like because it's a human experience. Everybody's had this feeling, man. Every human adult has had the feeling of seeing a virtuoso performance, and being in a room with people who understand what they're seeing. Because somebody who doesn't have the cultural context [could watch] a virtuoso performance, and they can appreciate, hey, this person's really good at the piano finishes. But they don't understand why, and what he's trying to say. And who he's trying to say it to. It feels transcended, it feels like you coming out of your body. And you'll hear verbiage from people describing it, "Oh, my God, man, this dude tore the house down." Or, "They blew me away." Or they shredded the place down. It's always a destructive description of what happened. But you understand, man, I missed something major. They don't even have the words for it. For me, I speak the language of cinema. That's my job, that's why I'm here. How do I, through the tools that we have, how do I communicate that feeling to the audience but through the way that only cinema can? That's my job.Every time somebody green lights one of my movies, that's my gig. And in that moment it's like, well, how do I show this? And the why. Why did juke joint culture develop in the 1930s? And it's because these people were denied this. And they were born at a time where they weren't going to see more freedom. That was their luck. This is what they got. Maybe their grandkids will,. And how cool would they be if the music is just right, they can party with those grandkids?"At the funeral, we sad, but we going to dance. You could say that about African culture, you can say that about Irish culture. “IGN: There’s that second tour de force musical set-piece later, and it's from the vampires’ perspective using traditional Irish folk music.Ryan Coogler: What I love about Irish music, bro, it's always a hidden contrast in it. “Rocky Road To Dublin” is a heartbreaking story. But it's saying with all this crazy vigor that the contrast of it doesn't totally make sense. And he's talking about ghouls and goblins. He's talking about fighting monsters. He was like, "Oh, y'all, the vampire is talking about how you got to fight ghouls and goblins." It's like, yo, this should be perfect. I think it's a mastery of contrast, bro. Irish folk music and dance. The same way that delta blues music is. When you have these people that are from a land of agricultural abundance, and they know these fields. And they forced to work these fields, but at the same time that humanity is being denied, and they forcing the poverty. Just that contrast, that concept. That contrast permeates everything. At the funeral, we sad, but we going to dance. You could say that about African culture, you can say that about Irish culture. We going to get a ton of shit, we're not going to cry about it.IGN: Have a party.Ryan Coogler: We not going to let them see us cry. That whole thing. We going to have songs with hidden meanings. I can sing this song while the British look at me and they won't know that what I'm saying it actually is. That connection. This guy, this vampire happens upon people who don't look like him, but he could give a fuck what they look like. He's a vampire. What they're going through, he knows like the back of his hand. That was fashion. That got us all excited. That's filmmaking.Sinners opens in theaters and in IMAX on April 18th.

As the United States' biggest news brands experiment with artificial intelligence in their content, readers remain unimpressed.In a new poll conducted by Poynter and the University of Minnesota, nearly half of the survey's respondents said they don't want AI reporting the news to them — and 20 percent say that news publishers shouldn't be using the technology at all.For the early March poll, the institutions recruited 1,128 demographically diverse people to form a representative sample of Americans. In an online survey, those respondents were asked a battery of questions about their media consumption and literacy levels before being asked about their personal AI use and their opinions regarding its use in journalism.When asked if they had any interest in "tools that allow readers to get information by chatting with a virtual assistant or digital chatbot that delivers AI-generated answers from previously published reporting" — the kind of thing that publishers as disparate as Snopes and The Guardian are looking into — 49 percent said they had no interest at all.In another portion of the survey, 30 percent of respondents said they had "no confidence at all" in news organizations using AI to write articles and 32 percent said the same of publishers using AI to "create images where real photographs are not available." Interestingly, more than half of the survey's respondents said they think publishers are already using generative AI to create images and articles — a trend that's been demonstrated before, and which is certainly not helping distrust in media that has for years been sown by Donald Trump and his movement.While there's plenty of evidence suggesting that people are becoming more comfortable with AI as it infiltrates our lives, this kind of survey reminds us that skepticism remains rampant, especially for important topics."The data suggests if you build it, do not expect overwhelming demand for it," explained Benjamin Toff, a University of Minnesota media expert who led this research and a similar study last year, in an interview with Poynter.That's a great piece of advice for news organizations seeking to "leverage" these expensive and often incorrect technologies even as they harm the media industry at large. With so many studies suggesting that people are massively freaked out about AI and the way it uses our data, it's not at all surprising that they don't want it feeding or writing their news, either.More on AI scaries: Man Alarmed as His Cognitive Skills Decay After Outsourcing Them to AIShare This Article

It's easy to mix up tax jargon but understanding it can help you save. What these words really mean.

DMZ: Nuclear Survival is a new open-world survival game with crafting, exploration, and beer-swilling bears And ostriches, apparently. Image credit: Wild Dog News by Vikki Blake Contributor Published on April 13, 2025 Meet DMZ: Nuclear Survival, a new PVE and competitive PVP multiplayer open-world survival crafting game set in a post-apocalyptic world after a nuclear war. It's coming "soon" in early access so that the "brand-new, ambitious, and highly flexible" game can grow alongside its community. It's thought the game - which hasn't indicated a price, but has at least confirmed it won't be free-to-play - will be in early access for the inaugural year, although that "depends upon development progress and player feedback". You can check it out in the teaser below, which debuted at Indie Live Expo 2025 earlier today: DMZ: Nuclear Survival Announce Trailer.Watch on YouTube Developed by a two-person team in Saitama, Japan, DMZ is the debut title from newly formed studio Wild Dog. It takes place on the supercontinent "Pangaea, a "vast, procedurally generated" environment featuring a variety of biomes, including forests, wastelands, deserts, and snowfields. The game's lore suggests it was formed by tectonic shifts caused by the war, where "intense battles for survival" unfolded. Players can excavate ancient ruins scattered across the land - such as pyramids, Terracotta warriors, and Roman temples - and research relics, craft items, and "even resurrect powerful soldiers from ancient genes to revive a fallen civilization and fight for survival". You'll also get to capture NPCs and bring them back to base to become companions, each one with a specialty that may come in handy. Non-human recruits like Bears, wolves, and, er, ostriches are also available. Players can also set up shop on dedicated servers to "play with over 100 players", although offline single-player mode is also available. The duo hope the final version will introduce new biomes and locations, "enhance soldier and NPC development features, improve PvE and PvP mechanics, add craftable technologies, and implement server updates that allow more players to participate simultaneously". For more, head on over to its Steam page, which informs me there'll be in-app purchases and full controller support.

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Image: Nintendo LifeWhether it’s your first or your fortieth time, booting up Xenoblade Chronicles X and exploring your immediate surroundings is nothing short of incredible. Mira’s huge, biodiverse landscape, populated by monsters both as small as a ball or as large as a four-storey building, with scraps of ruined ships and alien devices dotted around, is one of the most intimidating, beautiful, and exciting places to explore. In the 10 years since its original release on the Wii U, open-world games have changed and grown dramatically, largely thanks to a certain blonde-haired, tunic-donning hero.Subscribe to Nintendo Life on YouTube807kWatch on YouTube Open-world games were already prevalent in the years preceding Xenoblade X, but when Breath of the Wild launched in 2017, it felt like multiple rulebooks had been torn up and rewritten. We already have objectives and huge sprawling landscapes under our belts – why not have a bunch of tools that you can also exploit however you like? Feet? Who needs them? — Images: Nintendo Breath of the Wild is the game that made me get 'open world'. Its lush, sprawling apocalypse, where Guardians lie in wait, attempting to shoot Link out of the sky, is like a never-ending candy shop full of the best kind of confections. I can solve shrine puzzles using ludicrous motion control mishaps or actually think of my feet for a second. Or I can run straight to the final boss after leaving the Great Plateau for the first time. Or maybe, just maybe, I could be a professional chef. Breath of the Wild is just one giant playground – something that Tears of the Kingdom expands on even more with new tools, new layers, and new dangers. It also heavily influenced Elden Ring, which ups the danger levels tenfold and provides hundreds and hundreds of secrets and a magical horse that you can ride around on. There’s also a stupidly hard 'miniboss' close to the entrance of the Cave of Knowledge as you walk out into the golden plains of Limgrave for the first time. Don’t be stubborn and try to fight it right away. Trust me. Image: Bandai Namco Hyrule and The Lands Between are gargantuan maps that make the most of their scale by filling them with little caves or interactable locations that you can manipulate with your skills. Finding makeshift weapons or taking on incredibly tough bosses is part of the magic in those games. I’ve put well over 100 hours into each one, and I love them dearly. I thought no open world would intimidate me as much as these did. But coming back to Xenoblade X with the Definitive Edition, I was completely wrong. In fact, Mira is still the most intimidating and overwhelming open world I’ve ever explored. One of the reasons is the sheer diversity of creatures roaming the planet. Since Mira is five extremely open areas all seamlessly connected (not segmented, no load screens, etc.), you can quite easily move from Primordia, the game’s first area, to Sylvalum, the fourth location, and accidentally stumble into a level 60 monster that is ready to kill on sight. Images: Nintendo Life You can do this at any point, way before you get a Skell. My avatar’s tiny body and legs cannot outrun a giant floating alien mech-like thing as it’s trying to shoot me down with lasers. Stopping and fighting isn’t an option, because I’ll definitely get one-shotted. At least in Hyrule I can drop a bomb or rewind time if enemies start attacking me. Or in Elden Ring, I can call Torrent and gallop the hell out of a dangerous situation. No, Mira is designed to make me feel small. The reason you don’t get a Skell earlier than Chapter 6 is so you can feel completely tiny and powerless, attempting to navigate your way around the twisting tree branches of Noctillum or sneak past the plant monsters buried in the ashen sands of Sylvalum without being mauled to death. If you’re really good and you get some practice with Overdrive, then you might make it past some big beasties that are 10 or 20 levels above you. But you’ll more likely be squashed like an ant. C'mon Snake Boy, try me - I've died to a random robot more than you — Image: Bandai Namco The scope of every single segment of Mira is honestly staggering, even today. The way trees and mountains and unusual shapes tower over your party, and even New Los Angeles, invites feelings of terror and anticipation. Each area evokes real-world or fantasy tropes in completely alien ways. Oblivia is your typical desert region with pockets of oasis-like waters and a big waterfall, but the huge ring structure and the absolutely massive chasm at the centre of the map doesn’t make me feel at home at all. Primordia may act as your introduction to Mira, and of all the places, the big, verdant plains are certainly the safest-looking. But then you head to the lake and see a gargantuan diplodocus-thing, or visit the beach and instead of sun, sea, and sand, have a massive angler fish eyeing you up for lunch. Blue and green-glowing plants and aurora-like skies all look beautiful, but they’re paint and make-up for a strange and terrifying world that is dangerous as hell. Images: Nintendo Life I frequently look at FrontierNav to find probes to fill in or quests to unlock and attempt to track them, only to find out I need to do some complicated gymnastics routine that is impossible on foot. Just wait for a Skell, Alana, and stop trying to shimmy and leap your way up a polygonal column by hanging off some loose pixels. Thank god there’s no fall damage. I have a Skell now, and it’s way faster, but if some huge creature spots my big pink mech, hits it, and destroys it, I don’t want to pay out for insurance. Even though I’m a multi-millionaire. If I’m not scanning my map, I’m scrolling through my huge list of quests and story objectives, picking up new items, and finding people to rescue and bring back to New LA. There is so much going on at any one time in Xenoblade X that it puts almost every other world to shame. H.B. is doing push-ups outside the hangar, or Hope needs help gathering materials for a client. But then there’s a monster carrying materials I need for a brand new spear. It’s a procrastinator’s dream. There is, of course, a lot to do and deal with in Zelda and Elden Ring, too. And events like the Blood Moon and areas such as the Depths and the Underground build up some stressful to-do lists and danger zones in many ways. If you’re like me and found Mohgwyn Palace a little early, and then proceeded to bash your head against the wall as you take on the Lord of Blood under-levelled (look, I did it – it took me a couple of hours, but I got there in the end), then starry skies might be a little more unsettling than they were before. But nothing in those games compares to suddenly being spotted by a giant level-80 dinosaur. Yes, even the Gloom Spawn. *shudders* ...okay, these are still terrifying — Image: Nintendo Life Essentially, nowhere is safe in Mira, except New Los Angeles, but then I have to deal with Tatsu or Maurice, both dangerous in very different ways. But that’s also a huge part of the joy. Both Zelda games have their moments of calm, and Elden Ring’s scale is tempered by the fact you’re dealing with some extremely challenging bosses for good chunks of time. But all this really hammers home just how ahead of the curve Monolith Soft was back in 2015. Even as Xenoblade Chronicles 2 and 3 returned to a more 'open-zone' format, you can see where the developers took inspiration from X, extracting and amplifying those more alien, uncanny elements. Eventually, I will reach ridiculously overpowered levels and be able to fly around in my Skell, but right now, the sheer terror of making my way through Mira and navigating its quirks and problems is all I need. Right now, I wouldn’t have it any other way, even if I’m totally frazzled while doing it. HD-hyah! Do it, Nintendo Robot Jox Related Games See Also Share:69 4 Alana has been with Nintendo Life since 2022, and while RPGs are her first love, Nintendo is a close second. She enjoys nothing more than overthinking battle strategies, characters, and stories. She also wishes she was a Sega air pirate. Hold on there, you need to login to post a comment... Related Articles 'Switch 2 Editions' Are Supposedly A Switch Game Card And Download Code For The Upgrade Pack Update: Although My Nintendo Store reps are saying the opposite Opinion: The Switch 2 Is A Powerhouse For The Price We'll soon be playing with power Nintendo Understands Switch Owners May Not Be "Ready To Jump To Switch 2" And it wants to keep those players "engaged"

Jack Dorsey, co-founder of Twitter (now X) and Square (now Block), sparked a weekend’s worth of debate around intellectual property, patents, and copyright, with a characteristically terse post declaring, “delete all IP law.” X’s current owner Elon Musk quickly replied, “I agree.” It’s not clear what exactly brought these comments on, but they come at a time when AI companies including OpenAI (which Musk co-founded, competes with, and is challenging in court) are facing numerous lawsuits alleging that they’ve violated copyright to train their models. Indeed, tech evangelist and investor Chris Messina alluded to this while writing that Dorsey “has a point,” because, “Automated IP fines/3-strike rules for AI infringement may become the substitute for putting poor people in jail for cannabis possession.” Others were less sympathetic to this argument, with Ed Newton-Rex (whose nonprofit Fairly Trained certifies AI training practices that respect creators’ rights) describing the Dorsey-Musk exchange as “Tech execs declaring all-out war on creators who don’t want their life’s work pillaged for profit.” And the writer Lincoln Michel wrote that “none of Jack or Elon’s companies would exist without IP law,” adding, “They just hate artists.” Dorsey elaborated on his stance in subsequent replies, writing that there are “much greater models to pay creators” while claiming “the current ones take way too much from them and only rent-seek.” He made a similar point when attorney (and former Robert F. Kennedy Jr. running mate) Nicole Shanahan pushed back with an all caps “NO.” “IP law is the only thing separating human creations from AI creations,” Shanahan said. “If you want to reform it, let’s talk!” Dorsey countered, “creativity is what currently separates us, and the current system is limiting that, and putting the payments disbursement into the hands of gatekeepers who aren’t paying out fairly.” Musk’s reply is at least consistent with statements he’s made in the past, for example telling Jay Leno that “patents are for the weak.” A decade ago, in a so-called “patent giveaway,” he pledged that Tesla would not enforce patents against other companies that used them “in good faith.” (The company subsequently sued Australia’s Cap-XX over patents, but it said that was a response to a lawsuit Cap-XX filed against a Tesla subsidiary.) And Dorsey has shown an interest in open source approaches to social media, most notably initiating the project that eventually became Bluesky, though he seemed to become disillusioned and eventually left Bluesky’s board. (Bluesky CEO Jay Graber recently said Dorsey’s departure “freed up” the company from seeming like a billionaire’s side project.)  It’s also worth noting that the line between a random conversation on Twitter/X and actual government policy is thinner than it used to be, with Musk joining the Trump administration and pushing mass layoffs through his Department of Government Efficiency — named after a meme and largely staffed from the tech world.

Rather than favoring small tactical wins, environmentalists should have considered the strategic importance of empowering The International Seabed Authority