The post تجربة أنثروبيك الغريبة: عندما قرر الذكاء الاصطناعي أنه إنسان! appeared first on عرب هاردوير.

From the Weird Department: Cody Gindy decided to create a scene using only Suzanne as the base primitive. While a little unsettling, it works well! Source

Dandadan follows two eccentric teenagers as they explore the bizarre secrets and myths of the world they inhabit. In their misadventures, Momo and Okarun learn more about one another and become close friends in the process. Their bond is unique, as no one else truly understands or relates to the unorthodox beliefs and interests they have.

GeForce NOW is throwing open the vault doors to welcome the legendary Borderland series to the cloud. Whether a seasoned Vault Hunter or new to the mayhem of Pandora, prepare to experience the high-octane action and humor that define the series that includes Borderlands Game of the Year Enhanced, Borderlands 2, Borderlands 3 and Borderlands: The Pre-Sequel. Members can explore it all before the highly anticipated Borderlands 4 arrives in the cloud at launch. In addition, leap into the flames and save the day in the pulse-pounding FBC: Firebreak from Remedy Entertainment on GeForce NOW. It’s all part of the 13 new games in the cloud this week, including the latest Genshin Impact update and advanced access for REMATCH. Plus, GeForce NOW’s Summer Sale is still in full swing. For a limited time, get 40% off a six-month GeForce NOW Performance membership — perfect for diving into role-playing game favorites like the Borderlands series or any of the 2,200 titles in the platform’s cloud gaming library. Vault Hunters Assemble Gear up for a world where loot is king and chaos is always just a trigger pull away. The Borderlands series is known for its wild humor, outrageous characters and nonstop action — and now, its chaotic adventures can be streamed on GeForce NOW. Welcome to Pandora. Members revisiting the classics or jumping in for the first time can start with Borderlands Game of the Year Enhanced, the original mayhem-fueled classic now polished and packed with downloadable content. The title brings Pandora to life with a fresh coat of paint, crazy loot and the same iconic humor that started it all. New worlds, same chaos. In Borderlands 2, Handsome Jack steals the show with his mix of charm and villainy. This sequel cranks up the fun and insanity with unforgettable characters and a zany storyline. For more laughs and even wilder chaos, Borderlands 3 delivers the biggest loot explosion yet, with new worlds to explore. Face off against the Calypso twins and enjoy nonstop action. The rise of Handsome Jack. The adventure blasts off with Borderlands: The Pre-Sequel, revealing how Handsome Jack became so handsome. The game throws in zero gravity, moon boots and enough sarcasm to fuel a spaceship. Jump in with GeForce NOW and get ready to laugh, loot and blast through Pandora, all from the cloud. With instant access and seamless streaming at up to 4K resolution with an Ultimate membership, enter the chaos of Borderlands anytime, anywhere. No downloads, no waiting. Suit Up, Clean Up The Oldest House needs you. Step into the shoes of the Federal Bureau of Control’s elite first responders in the highly anticipated three-player co-op first-person shooter FBC: Firebreak. Taking place six years after Control, the game is set in the Oldest House — under siege by reality-warping threats. It’s up to players to restore order before chaos wins. Equip unique Crisis Kits packed with weapons, specialized tools and paranatural augments, like a garden gnome that summons a thunderstorm or a piggy bank that spews coins. As each mission, or “Job,” drops players into unpredictable environments with shifting objectives, bizarre crises and wacky enemies, teamwork and quick thinking are key. Jump into the fray with friends and stream it on GeForce NOW instantly across devices. Experience the mind-bending action and stunning visuals powered by cloud streaming. Contain the chaos, save the Oldest House and enjoy a new kind of co-op adventure, all from the cloud. No Rules Included Score big laughs in the cloud. REMATCH gives soccer a bold twist, transforming the classic sport into a fast-paced, third-person action experience where every player controls a single athlete on the field. With no fouls, offsides or breaks, matches are nonstop and skills-based, demanding quick reflexes and seamless teamwork. Dynamic role-switching lets players jump between attack, defense and goalkeeping, while seasonal updates and various multiplayer modes keep the competition fresh and the action intense. Where arcade flair meets tactical depth, REMATCH is football, unleashed. Get instant access to the soccer pitch by streaming the title on GeForce NOW and jump into the action wherever the match calls. Time To Game Skirk has arrived. Genshin Impact’s next major update launches this week, and members can stream the latest adventures from Teyvat at GeForce quality on any device. Version 5.7 includes the new playable characters Skirk and Dahlia — as well as fresh story quests and the launch of a Stygian Onslaught combat mode. Look for the following games available to stream in the cloud this week: REMATCH (New release on Steam, Xbox, available on PC Game Pass, June 16) Broken Arrow (New release on Steam, June 19) Crime Simulator (New release on Steam, June 17) Date Everything! (New release on Steam, June 17) FBC: Firebreak (New release on Steam, Xbox, available on PC Game Pass, June 17) Lost in Random: The Eternal Die (New release on Steam, Xbox, available on PC Game Pass, June 17) Architect Life: A House Design Simulator (New release on Steam, June 19) Borderlands Game of the Year Enhanced (Steam) Borderlands 2 (Steam, Epic Games Store) Borderlands 3 (Steam, Epic Games Store) Borderlands: The Pre-Sequel (Steam, Epic Games Store) METAL EDEN Demo (Steam) Torque Drift 2 (Epic Games Store) What are you planning to play this weekend? Let us know on X or in the comments below. What's a gaming achievement you'll never forget? — NVIDIA GeForce NOW (@NVIDIAGFN) June 18, 2025

Fighting game adaptations are some of the campiest, most absurd films in the already generally pretty absurd game-to-movie oeuvre. Films like the Mortal Kombat series, Dead or Alive, and the 1994 Street Fighter all possess a kind of so-bad-they’re-go

La sélection L’Officielle du Festival d’Annecy apporte toujours son lot de projets surprenants et atypiques. Cette année, le film d’animation Planètes, réalisé par Momoko Seto, promet de sortir des sentiers battus. On y suivra en ef

Balls, Dice & Stickers asks you to launch a ball at some dice that trigger a ton of ridiculous effects each time you hit them. I am not sure what I did to upset paperclips, mice, and the manifestations of the past, but they’re all here to give me a hard time unless I beat them up with some damaging dice. I won’t be rolling those dice, though. That would be a little too straightforward in this delightfully chaotic game. Instead, I’ll be launching a ball at the dice and trying to get the ball to bounce around the room, hitting the dice as much as possible before the ball pings out the bottom of the screen. Except THAT is also not all there is to it. Each round, you get a sticker you can apply to one of your dice. These stickers cause wildly varied effects that often build off of the other stickers. For instance, you can add a beehive to one of the dice. This can spawn a bee, which in turn will shoot needles at certain things and will like other objects. Tape adds a banana to the playing field which can provide you points. The Pub spawns a drunk driver, and that drunk driver might get caught by the police car that you spawn from landing on another die. And these dice effects all stack on top of one another as you progress through the rounds, resulting in a bustling field of dozens of bizarre, silly effects all working in tandem with one another. Balls, Dice & Stickers is really something to behold after you’ve got a few rounds under your belt. Describing it really doesn’t do justice to how much fun this game is once it gets rolling, so I highly recommend trying out the alpha build on itch.io. I can’t even imagine how much sillier it’s going to get in its full release. Balls, Dice & Stickers is availble now (in an alpha format) on itch.io. You can add the future full release of the game to your Wishlist on Steam. About The Author

show some love for the losers Delightfully irreverent Underdogs isn’t your parents’ nature docuseries Ryan Reynolds narrates NatGeo's new series highlighting nature's much less cool and majestic creatures Jennifer Ouellette – Jun 15, 2025 3:11 pm | 5 The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker The indestructible honey badger is just one of nature's "benchwarmers" featured in Underdogs Credit: National Geographic/Doug Parker Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Narrator Ryan Reynolds celebrates nature's outcasts in the new NatGeo docuseries Underdogs. Most of us have seen a nature documentary or two (or three) at some point in our lives, so it's a familiar format: sweeping majestic footage of impressively regal animals accompanied by reverently high-toned narration (preferably with a tony British accent). Underdogs, a new docuseries from National Geographic, takes a decidedly different and unconventional approach. Narrated by with hilarious irreverence by Ryan Reynolds, the five-part series highlights nature's less cool and majestic creatures: the outcasts and benchwarmers, more noteworthy for their "unconventional hygiene choices" and "unsavory courtship rituals." It's like The Suicide Squad or Thunderbolts*, except these creatures actually exist. Per the official premise, "Underdogs features a range of never-before-filmed scenes, including the first time a film crew has ever entered a special cave in New Zealand—a huge cavern that glows brighter than a bachelor pad under a black light thanks to the glowing butts of millions of mucus-coated grubs. All over the world, overlooked superstars like this are out there 24/7, giving it maximum effort and keeping the natural world in working order for all those showboating polar bears, sharks and gorillas." It's rated PG-13 thanks to the odd bit of scatalogical humor and shots of Nature Sexy Time Each of the five episodes is built around a specific genre. "Superheroes" highlights the surprising superpowers of the honey badger, pistol shrimp, and the invisible glass frog, among others, augmented with comic book graphics; "Sexy Beasts" focuses on bizarre mating habits and follows the format of a romantic advice column; "Terrible Parents" highlights nature's worst practices, following the outline of a parenting guide; "Total Grossout" is exactly what it sounds like; and "The Unusual Suspects" is a heist tale, documenting the supposed efforts of a macaque to put together the ultimate team of masters of deception and disguise (an inside man, a decoy, a fall guy, etc.).  Green Day even wrote and recorded a special theme song for the opening credits. Co-creators Mark Linfield and Vanessa Berlowitz of Wildstar Films are longtime producers of award-winning wildlife films, most notably Frozen Planet, Planet Earth and David Attenborough's Life of Mammals—you know, the kind of prestige nature documentaries that have become a mainstay for National Geographic and the BBC, among others. They're justly proud of that work, but this time around the duo wanted to try something different. Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish Madagascar's aye-aye: "as if fear and panic had a baby and rolled it in dog hair" National Geographic/Eleanor Paish An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker An emerald jewel wasp emerges from a cockroach. National Geographic/Simon De Glanville A pack of African hunting dogs is no match for the honey badger's thick hide. National Geographic/Tom Walker A fireworm is hit by a cavitation bubble shot from the claw of a pistol shrimp defending its home. National Geographic/Hugh Miller As it grows and molts, the mad hatterpillar stacks old head casings on top of its head. Scientists think it is used as a decoy against would-be predators and parasites, and when needed, it can also be used as a weapon. National Geographic/Katherine Hannaford Worst parents ever? A young barnacle goose chick prepares t make the 800-foot jump from its nest to the ground. National Geographic An adult pearlfish reverses into a sea cucumber's butt to hide. National Geographic A vulture sticks its head inside an elephant carcass to eat. National Geographic A manatee releases flatulence while swimming to lose the buoyancy build up of gas inside its stomach, and descend down the water column. National Geographic/Karl Davies "There is a sense after awhile that you're playing the same animals to the same people, and the shows are starting to look the same and so is your audience," Linfield told Ars. "We thought, okay, how can we do something absolutely the opposite? We've gone through our careers collecting stories of these weird and crazy creatures that don't end up in the script because they're not big or sexy and they live under a rock. But they often have the best life histories and the craziest superpowers." Case in point: the velvet worm featured in the "Superheroes" episode, which creeps up on unsuspecting prey before squirting disgusting slime all over their food. (It's a handy defense mechanism, too, against predators like the wolf spider.) Once Linfield and Berlowitz decided to focus on nature's underdogs and to take a more humorous approach, Ryan Reynolds became their top choice for a narrator—the anti-Richard Attenborough. As luck would have it, the pair shared an agent with the mega-star. So even though they thought there was no way Reynolds would agree to the project, they put together a sizzle reel, complete with a "fake Canadian Ryan Reynolds sound-alike" doing the narration. Reynolds was on set when he received the reel, and loved it so much he recoded his own narration for the footage and sent it back. "From that moment he was in," said Linfield, and Wildstar Films worked closely with Reynolds and his company to develop the final series. "We've never worked that way on a series before, a joint collaboration from day one," Berlowitz admitted. But it worked: the end result strikes the perfect balance between scientific revelation and accurate natural history, and an edgy comic tone. That tone is quintessential Reynolds, and while he did mostly follow the script (which his team helped write), Linfield and Berlowitz admit there was also a fair amount of improvisation—not all of it PG-13.  "What we hadn't appreciated is that he's an incredible improv performer," said Berlowitz. "He can't help himself. He gets into character and starts riffing off [the footage]. There are some takes that we definitely couldn't use, that potentially would fit a slightly more Hulu audience."  Some of the ad-libs made it into the final episodes, however—like Reynolds describing an Aye-Aye as "if fear and panic had a baby and rolled it in dog hair"—even though it meant going back and doing a bit of recutting to get the new lines to fit. Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort Cinematographer Tom Beldam films a long-tailed macaque who stole his smart phone minutes later. National Geographic/Laura Pennafort The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic The macaque agrees to trade ithe stolen phone for a piece of food. National Geographic A family of tortoise beetles defend themselves from a carnivorous ant by wafting baby poop in its direction. National Geographic A male hippo sprays his feces at another male who is threatening to take over his patch. National Geographic A male proboscis monkey flaunts his large nose. The noses of these males are used to amplify their calls in the vast forest. National Geographic Dream girl: A blood-soaked female hyena looks across the African savanna. National Geographic A male bowerbird presents one of the finest items in his collection to a female in his bower. National Geographic The male nursery web spider presents his nuptial gift to the female. National Geographic Cue the Barry White mood music: Two leopard slugs suspend themselves on a rope of mucus as they entwine their bodies to mate with one another. National Geographic Despite their years of collective experience, Linfield and Berlowitz were initially skeptical when the crew told them about the pearl fish, which hides from predators in a sea cucumber's butt (along with many other species). "It had never been filmed so we said, 'You're going to have to prove it to us,'" said Berlowitz. "They came back with this fantastic, hilarious sequence of a pearl fish reverse parking [in a sea cucumber's anus)." The film crew experienced a few heart-pounding moments, most notably while filming the cliffside nests of barnacle geese for the "Terrible Parents" episode. A melting glacier caused a watery avalanche while the crew was filming the geese, and they had to quickly grab a few shots and run to safety. Less dramatic: cinematographer Tom Beldam had his smartphone stolen by a long-tailed macaque mere minutes after he finished capturing the animal on film. If all goes well and Underdogs finds its target audience, we may even get a follow-up. "We are slightly plowing new territory but the science is as true as it's ever been and the stories are good. That aspect of the natural history is still there," said Linfield. "I think what we really hope for is that people who don't normally watch natural history will watch it. If people have as much fun watching it as we had making it, then the metrics should be good enough for another season." Verdict: Underdogs is positively addictive; I binged all five episodes in a single day. (For his part, Reynolds said in a statement that he was thrilled to "finally watch a project of ours with my children. Technically they saw Deadpool and Wolverine but I don't think they absorbed much while covering their eyes and ears and screaming for two hours.") Underdogs premieres June 15, 2025, at 9 PM/8 PM Central on National Geographic (simulcast on ABC) and will be available for streaming on Disney+ and Hulu the following day.  You should watch it, if only to get that second season. Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 5 Comments

Inside Apple’s high-gloss standoff with AI ambition and the uncanny choreography of WWDC 2025There was a time when watching an Apple keynote — like Steve Jobs introducing the iPhone in 2007, the masterclass of all masterclasses in product launching — felt like watching a tightrope act. There was suspense. Live demos happened — sometimes they failed, and when they didn’t, the applause was real, not piped through a Dolby mix.These days, that tension is gone. Since 2020, in the wake of the pandemic, Apple events have become pre-recorded masterworks: drone shots sweeping over Apple Park, transitions smoother than a Pixar short, and executives delivering their lines like odd, IRL spatial personas. They move like human renderings: poised, confident, and just robotic enough to raise a brow. The kind of people who, if encountered in real life, would probably light up half a dozen red flags before a handshake is even offered. A case in point: the official “Liquid Glass” UI demo — it’s visually stunning, yes, but also uncanny, like a concept reel that forgot it needed to ship.https://medium.com/media/fcb3b16cc42621ba32153aff80ea1805/hrefAnd that’s the paradox. Not only has Apple trimmed down the content of WWDC, it’s also polished the delivery into something almost inhumanly controlled. Every keynote beat feels engineered to avoid risk, reduce friction, and glide past doubt. But in doing so, something vital slips away: the tension, the spontaneity, the sense that the future is being made, not just performed.Just one year earlier, WWDC 2024 opened with a cinematic cold open “somewhere over California”:https://medium.com/media/f97f45387353363264d99c341d4571b0/hrefPhil Schiller piloting an Apple-branded plane, iPod in hand, muttering “I’m getting too old for this stuff.” A perfect mix of Lethal Weapon camp and a winking message that yes, Classic-Apple was still at the controls — literally — flying its senior leadership straight toward Cupertino. Out the hatch, like high-altitude paratroopers of optimism, leapt the entire exec team, with Craig Federighi, always the go-to for Apple’s auto-ironic set pieces, leading the charge, donning a helmet literally resembling his own legendary mane. It was peak-bold, bizarre, and unmistakably Apple. That intro now reads like the final act of full-throttle confidence.This year’s WWDC offered a particularly crisp contrast. Aside from the new intro — which features Craig Federighi drifting an F1-style race car across the inner rooftop ring of Apple Park as a “therapy session”, a not-so-subtle nod to the upcoming Formula 1 blockbuster but also to the accountability for the failure to deliver the system-wide AI on time — WWDC 2025 pulled back dramatically. The new “Apple Intelligence” was introduced in a keynote with zero stumbles, zero awkward transitions, and visuals so pristine they could have been rendered on a Vision Pro. Not only had the scope of WWDC been trimmed down to safer talking points, but even the tone had shifted — less like a tech summit, more like a handsomely lit containment-mode seminar. And that, perhaps, was the problem. The presentation wasn’t a reveal — it was a performance. And performances can be edited in post. Demos can’t.So when Apple in march 2025 quietly admitted, for the first time, in a formal press release addressed to reporters like John Gruber, that the personalized Siri and system-wide AI features would be delayed — the reaction wasn’t outrage. It was something subtler: disillusionment. Gruber’s response cracked the façade wide open. His post opened a slow but persistent wave of unease, rippling through developer Slack channels and private comment threads alike. John Gruber’s reaction, published under the headline “Something is rotten in the State of Cupertino”, was devastating. His critique opened the floodgates to a wave of murmurs and public unease among developers and insiders, many of whom had begun to question what was really happening at the helm of key divisions central to Apple’s future.Many still believe Apple is the only company truly capable of pulling off hardware-software integrated AI at scale. But there’s a sense that the company is now operating in damage-control mode. The delay didn’t just push back a feature — it disrupted the entire strategic arc of WWDC 2025. What could have been a milestone in system-level AI became a cautious sidestep, repackaged through visual polish and feature tweaks. The result: a presentation focused on UI refinements and safe bets, far removed from the sweeping revolution that had been teased as the main selling point for promoting the iPhone 16 launch, “Built for Apple Intelligence”.That tension surfaced during Joanna Stern’s recent live interview with Craig Federighi and Greg Joswiak. These are two of Apple’s most media-savvy execs, and yet, in a setting where questions weren’t scripted, you could see the seams. Their usual fluency gave way to something stiffer. More careful. Less certain. And even the absences speak volumes: for the first time in a decade, no one from Apple’s top team joined John Gruber’s Talk Show at WWDC. It wasn’t a scheduling fluke — nor a petty retaliation for Gruber’s damning March article. It was a retreat — one that Stratechery’s Ben Thompson described as exactly that: a strategic fallback, not a brave reset.Meanwhile, the keynote narrative quietly shifted from AI ambition to UI innovation: new visual effects, tighter integration, call screening. Credit here goes to Alan Dye — Apple VP of Human Interface Design and one of the last remaining members of Jony Ive’s inner circle not yet absorbed into LoveFrom — whose long-arc work on interface aesthetics, from the early stages of the Dynamic Island onward, is finally starting to click into place. This is classic Apple: refinement as substance, design as coherence. But it was meant to be the cherry on top of a much deeper AI-system transformation — not the whole sundae. All useful. All safe. And yet, the thing that Apple could uniquely deliver — a seamless, deeply integrated, user-controlled and privacy-safe Apple Intelligence — is now the thing it seems most reluctant to show.There is no doubt the groundwork has been laid. And to Apple’s credit, Jason Snell notes that the company is shifting gears, scaling ambitions to something that feels more tangible. But in scaling back the risk, something else has been scaled back too: the willingness to look your audience of stakeholders, developers and users live, in the eye, and show the future for how you have carefully crafted it and how you can put it in the market immediately, or in mere weeks. Showing things as they are, or as they will be very soon. Rehearsed, yes, but never faked.Even James Dyson’s live demo of a new vacuum showed more courage. No camera cuts. No soft lighting. Just a human being, showing a thing. It might have sucked, literally or figuratively. But it didn’t. And it stuck. That’s what feels missing in Cupertino.Some have started using the term glasslighting — a coined pun blending Apple’s signature glassy aesthetics with the soft manipulations of marketing, like a gentle fog of polished perfection that leaves expectations quietly disoriented. It’s not deception. It’s damage control. But that instinct, understandable as it is, doesn’t build momentum. It builds inertia. And inertia doesn’t sell intelligence. It only delays the reckoning.Before the curtain falls, it’s hard not to revisit the uncanny polish of Apple’s speakers presence. One might start to wonder whether Apple is really late on AI — or whether it’s simply developed such a hyper-advanced internal model that its leadership team has been replaced by real-time human avatars, flawlessly animated, fed directly by the Neural Engine. Not the constrained humanity of two floating eyes behind an Apple Vision headset, but full-on flawless embodiment — if this is Apple’s augmented AI at work, it may be the only undisclosed and underpromised demo actually shipping.OS30 live demoMeanwhile, just as Apple was soft-pedaling its A.I. story with maximum visual polish, a very different tone landed from across the bay: Sam Altman and Jony Ive, sitting in a bar, talking about the future.https://medium.com/media/5cdea73d7fde0b538e038af1990afa44/hrefNo stage. No teleprompter. No uncanny valley. Just two “old friends”, with one hell of a budget, quietly sketching the next era of computing. A vision Apple once claimed effortlessly.There’s still the question of whether Apple, as many hope, can reclaim — and lock down — that leadership for itself. A healthy dose of competition, at the very least, can only help.Too big, fail too was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.