Humans learn the norms, values and behaviors of society from each other — and Bernt Børnich, founder and CEO of 1X Technologies, thinks robots should learn like this, too. “For robots to be truly intelligent and show nuances like being careful around your pet, holding the door open for an elderly person and generally behaving like we want robots to behave, they have to live and learn among us,” Børnich told the AI Podcast. 1X Technologies is committed to building fully autonomous humanoid robots, with a focus on safety, affordability and adaptability. Børnich explained how 1X Technologies uses a combination of reinforcement learning, expert demonstrations and real-world data to enable its robots to continuously learn and adapt to new situations. NEO, the company’s upcoming robot, can perform household tasks like vacuuming, folding laundry, tidying and retrieving items. It’s built with operational safety at its core, using tendon-driven mechanisms inspired by the human musculoskeletal system to achieve low energy consumption. Børnich highlights the potential for robots to enhance human productivity by helping handle mundane tasks, freeing people up to focus more on interpersonal connections and creative activities. Learn more about the latest in physical AI and robotics at NVIDIA GTC Paris, which takes place from June 10-12. Register to attend humanoid-related sessions, including: “An Introduction to Humanoid Robots” for a deep dive into NVIDIA Isaac GR00T “How Physical AI Is Shaping the Next Generation of Industrial Robots” to learn how robotics leaders are making robots more intuitive and effective across industries Time Stamps 05:18 – 1X Technologies’ approach to robot safety. 11:36 – How world models enable robots to search backwards from the goal. 16:51 – How robots can free humans up for more meaningful activities. 22:29 – NEO answers the door so Børnich can interview a candidate. You Might Also Like…  How World Foundation Models Will Advance Physical AI With NVIDIA’s Ming-Yu Liu AI models that can accurately simulate and predict outcomes in physical, real-world environments will enable the next generation of physical AI systems. Ming-Yu Liu, vice president of research at NVIDIA and an IEEE Fellow, explains the significance of world foundation models — powerful neural networks that can simulate physical environments. Roboflow Helps Unlock Computer Vision for Every Kind of AI Builder Roboflow’s mission is to make the world programmable through computer vision. By simplifying computer vision development, the company helps bridge the gap between AI and people looking to harness it. Cofounder and CEO Joseph Nelson discusses how Roboflow empowers users in manufacturing, healthcare and automotive to solve complex problems with visual AI. Imbue CEO Kanjun Qiu on Transforming AI Agents Into Personal Collaborators Kanjun Qiu, CEO of Imbue, explores the emerging era where individuals can create and use their own AI agents. Drawing a parallel to the PC revolution of the late 1970s and ‘80s, Qiu discusses how modern AI systems are evolving to work collaboratively with users, enhancing their capabilities rather than just automating tasks.

Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025

Netflix has no shortage of options when it comes to science fiction programming and experimental anthology series, but Love, Death + Robots is an especially beautiful love letter to science fiction’s chameleonic nature and endless versatility. The unpredictable animated anthology series combines sci-fi with comedy, horror, fantasy, mystery, and romance as it brings gripping genre literature to life through a modern lens. In doing so, Love, Death + Robots doesn’t just celebrate science fiction; it helps it evolve. Sci-fi is a revelatory storytelling genre that can open the audience’s mind and forever change their perception of reality. The best of it probes, inspires, and admonishes, which is exactly what Tim Miller (Deadpool) and Jennifer Yuh Nelson (Kung Fu Panda 2 and 3) strive for in Love, Death + Robots, now in its fourth season. Nothing is off-limits in the series, whether it’s a cat-fueled dystopia, gladiatorial combat atop dinosaurs, or a poet’s feud with Satan. The show aims to create the same level of jubilation in its viewers as those who discovered these short stories for the first time. Pretty much all the vignettes have been based on short stories that Tim’s read throughout his life,” explains Nelson, Love, Death + Robots’ supervising director. “We have hundreds of these stories just piled up.” There’s a true passion for the source material that helps Love, Death + Robots excel. This enormous collection of genre classics gets carefully selected as each new season takes shape.  “We try to curate the perfect mix. So we have a little something for everybody,” creator Miller elaborates. This has been one of the secrets to Love, Death + Robots’ success. Each collection of episodes is truly unique and feels like a pulpy paperback of short stories. In fact, Love, Death + Robots has even published collections of each season’s stories. “All the money goes to the authors,” Miller proudly adds. “We want people to read the stories! Forget about making them into movies.” Love, Death + Robots has resonated with science fiction fans who appreciate captivating and concise storytelling. That being said, Love, Death + Robots is also a visual extravaganza that pushes just as many boundaries in animation. Four seasons in, the series “Often, we choose the director and the animation studio according to their specialty,” Nelson explains as she continues to break down the meticulous nature of this process. “If we have two tentpole episodes that look a certain way, then we want to make sure that those episodes are going to look vastly different from each other.” For instance, Titmouse’s impressionistic work on Volume IV’s “How Zeke Got Religion” actively enhances the story. “You need to find their thing,” Nelson adds in reference to Love, Death + Robots’ roster of animation studios and what they each bring to the table. “It’s important for us, especially for this series, to make sure that we’re really showcasing the whole breadth of animation,” asserts Nelson. “Sometimes these directors are very much pioneers in what they do, and no one else is doing what they do. That’s why we end up working with them.” Photo-realistic 3D animation, stop-motion, traditional 2D visuals, and stop-motion are just some of the animation styles on display in Love, Death + Robots. The series has even increasingly dipped its toe into live-action stories that blur the lines between reality and animation. “Rarely do you see such a showcase of animation like this,” Nelson says. “This is a way to show new ideas, new looks, and new innovation by different directors and studios around the world.” Miller reiterates that it’s a deeply collaborative process where the animation studios have just as much agency as the storytellers.  “We push it in the initial direction, and then the directors come in and do their pitch.” The final product becomes a synthesis of ideas that are built upon ambition and taking risks. “We try to give them as much freedom as we can,” Miller emphasizes. This relationship has paid off well, earning the animated series 13 Primetime Emmy Awards, including Outstanding Short Form Animated Program and Outstanding Individual Achievement in Animation. The series’ latest batch of episodes is likely to add to this already impressive collection of accolades. Love, Death + Robots’ 45 episodes provide a broad, brave mix of everything that science fiction and animation have to offer. However, the series continues to look forward and is determined to surpass these heights. “We’ve got a lot of stories,” boasts Miller. “I have the next season—seasons, actually—picked out.” And while there were previously spin-offs and off-shoots in consideration, Love, Death + Robots is the perfect incubator for these stories, whether they’re two minutes or 20 minutes. “The beauty of the show is that we’d never get some of these ideas made if we were asking to do a feature,” admits Miller.  Join our mailing list Get the best of Den of Geek delivered right to your inbox! Love, Death + Robots plays by its own rules and continues to redefine anthology storytelling. It’s still the only series where fans can alternate between a string puppet rock concert and Russian Civil War soldiers fighting ancient supernatural evils. “There’s still a lot of room to do new and innovative things that we haven’t done before,” Miller insists. “Although we always seem to end up with too many cat stories. I can’t really explain that.” Four volumes of Love, Death & Robots are available to stream on Netflix now.

The Utah court of appeals has sanctioned a lawyer after he was discovered to have used ChatGPT for a filing he made in which he referenced a nonexistent court case.Earlier this week, the Utah court of appeals made the decision to sanction Richard Bednar over claims that he filed a brief which included false citations.According to court documents reviewed by ABC4, Bednar and Douglas Durbano, another Utah-based lawyer who was serving as the petitioner’s counsel, filed a “timely petition for interlocutory appeal”.Upon reviewing the brief which was written by a law clerk, the respondent’s counsel found several false citations of cases.“It appears that at least some portions of the Petition may be AI-generated, including citations and even quotations to at least one case that does not appear to exist in any legal database (and could only be found in ChatGPT and references to cases that are wholly unrelated to the referenced subject matter,” the respondent’s counsel said in documents reviewed by ABC4.The outlet reports that the brief referenced a case titled “Royer v Nelson”, which did not exist in any legal database.Following the discovery of the false citations, Bednar “acknowledged ‘the errors contained in the petition’ and apologized”, according to a document from the Utah court of appeals, ABC4 reports. It went on to add that during a hearing in April, Bednar and his attorney “acknowledged that the petition contained fabricated legal authority, which was obtained from ChatGPT, and they accepted responsibility for the contents of the petition”.According to Bednar and his attorney, an “unlicensed law clerk” wrote up the brief and Bednar did not “independently check the accuracy” before he made the filing. ABC4 further reports that Durbano was not involved in the creation of the petition and the law clerk responsible for the filing was a law school graduate who was terminated from the law firm.The outlet added that Bednar offered to pay any related attorney fees to “make amends”.In a statement reported by ABC4, the Utah court of appeals said: “We agree that the use of AI in the preparation of pleadings is a legal research tool that will continue to evolve with advances in technology. However, we emphasize that every attorney has an ongoing duty to review and ensure the accuracy of their court filings. In the present case, petitioner’s counsel fell short of their gatekeeping responsibilities as members of the Utah State Bar when they submitted a petition that contained fake precedent generated by ChatGPT.”As a result of the false citations, ABC4 reports that Bednar was ordered to pay the respondent’s attorney fees for the petition and hearing, refund fees to their client for the time used to prepare the filing and attend the hearing, as well as donate $1,000 to the Utah-based legal non-profit And Justice for All.

Building effective agentic AI systems requires rethinking how technology interacts and delivers value across organizations. Bartley Richardson, senior director of engineering and AI infrastructure at NVIDIA, joined the NVIDIA AI Podcast to discuss how enterprises can successfully deploy agentic AI systems. “When I talk with people about agents and agentic AI, what I really want to say is automation,” Richardson said. “It is that next level of automation.” Richardson explains that AI reasoning models play a critical role in these systems by “thinking out loud” and enabling better planning capabilities. “Reasoning models have been trained and tuned in a very specific way to think — almost like thinking out loud,” Richardson said. “It’s kind of like when you’re brainstorming with your colleagues or family.” What makes NVIDIA’s Llama Nemotron models distinctive is that they give users the ability to toggle reasoning on or off within the same model, optimizing for specific tasks. Enterprise IT leaders must acknowledge the multi-vendor reality of modern environments,  Richardson explained, saying organizations will have agent systems from various sources working together simultaneously. “You’re going to have all these agents working together, and the trick is discovering how to let them all mesh together in a somewhat seamless way for your employees,” Richardson said. To address this challenge, NVIDIA developed the AI-Q Blueprint for developing advanced agentic AI systems. Teams can build AI agents to automate complex tasks, break down operational silos and drive efficiency across industries. The blueprint uses the open-source NVIDIA Agent Intelligence (AIQ) toolkit to evaluate and profile agent workflows, making it easier to optimize and ensure interoperability among agents, tools and data sources. “We have customers that optimize their tool-calling chains and get 15x speedups through their pipeline using AI-Q,” Richardson said. He also emphasized the importance of maintaining realistic expectations that still provide significant business value. “Agentic systems will make mistakes,” Richardson added. “But if it gets you 60%, 70%, 80% of the way there, that’s amazing.” Time Stamps 1:15 – Defining agentic AI as the next evolution of enterprise automation. 4:06 – How reasoning models enhance agentic system capabilities. 12:41 – Enterprise considerations for implementing multi-vendor agent systems. 19:33 – Introduction to the NVIDIA Agent Intelligence toolkit for observability and traceability. You Might Also Like…  NVIDIA’s Rama Akkiraju on How AI Platform Architects Help Bridge Business Vision and Technical Execution Enterprises are exploring AI to rethink problem-solving and business processes. These initiatives require the right infrastructure, such as AI factories, which allow businesses to convert data into tokens and outcomes. Rama Akkiraju, vice president of IT for AI and machine learning at NVIDIA, joined the AI Podcast to discuss how enterprises can build the right foundations for AI success, and the critical role of AI platform architects in designing and building AI infrastructure based on specific business needs. Roboflow Helps Unlock Computer Vision for Every Kind of AI Builder Roboflow’s mission is to make the world programmable through computer vision. By simplifying computer vision development, the company helps bridge the gap between AI and people looking to harness it. Cofounder and CEO Joseph Nelson discusses how Roboflow empowers users in manufacturing, healthcare and automotive to solve complex problems with visual AI. NVIDIA’s Jacob Liberman on Bringing Agentic AI to Enterprises Agentic AI enables developers to create intelligent multi-agent systems that reason, act and execute complex tasks with a degree of autonomy. Jacob Liberman, director of product management at NVIDIA, explains how agentic AI bridges the gap between powerful AI models and practical enterprise applications.

This list includes a selection of the latest research on cybersecurity & data privacy posted to SSRN in 2025. Understanding the Cyber Risks of Artificial Intelligence: An Ongoing, Comprehensive, Multi-Faceted Approach for CIOs, CTOs and CSOs by Nelson Novaes Neto (MIT Sloan School of Management) & Keri Pearlson (MIT Sloan School of Management) How to Save the Internet by Tejas N. Narechania (University of California, Berkeley) & Scott Shenker (University of California, Berkeley) Addressing Privacy Risk Management in Mergers and Acquisitions: Developing a Compliance Strategy for Handling Third-Party Vendor Data by Esther Arokun (Seattle University) State Constitutional Rights to Privacy by Tiffany C. Li (University of San Francisco) Beyond Algorithmic Disgorgement: Remedying Algorithmic Harms by Christina Lee (George Washington University) The Brussels Effect(s) and the Rise of a Privacy Profession by Michael Birnhack (Tel Aviv University) & Guy Mundlak (Tel Aviv University) Data Scanning and the Fourth Amendment by Orin S. Kerr (Stanford Law School) The Quest for Lawful AI Training under Data Protection Frameworks: Global Controversies and Practical Implications by Wenlong Li (Aston University), Yueming Zhang (Ghent University), Qingqing Zheng (Shandong University), & Aolan Li (Queen Mary University of London) The National Security Internet by Anupam Chander (Georgetown University Law Center) The $1.4 Billion Bybit Hack: Cybersecurity Failures and the Risks of Cryptocurrency Deregulation by David Krause (Marquette University) Brokering Safety by Chinmayi Sharma (Fordham University School of Law), Thomas Kadri (University of Georgia School of Law), & Sam Adler (Fordham University School of Law) Rethinking Youth Privacy by Danielle Keats Citron (University of Virginia School of Law) & Ari Ezra Waldman (University of California, Irvine) To read more research on Cybersecurity & Data Privacy, subscribe to SSRN’s Cybersecurity & Data Privacy Law & Policy eJournal or view other papers here.

Submitted by WA Contents Call For Ideas: Tiny Library 2025 Architecture Competition India Architecture News - May 24, 2025 - 09:35   html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" As the world is continuously transforming and expanding, the amount of data and information created every day is also increasing constantly. Human intellect today is expected to evolve at the same rate as our world to continue our journey into the future. Despite all the information, reading and self-learning remain the most powerful tools available to mankind to consume knowledge. Learning bolsters awareness, exposure and productivity, which in turn results into development.Despite its importance, education is still inaccessible to many communities in remote locations around the world. Self-learning, especially through reading, is crucial for the society’s development. It is necessary to have places promoting education and self- learning to educate the local population within the closest proximity. It will make them accessible to gainful employment opportunities in their home towns and will thereby avoid the need for migration elsewhere."Education is the most powerful weapon which you can use to change the world." - Nelson Mandela (Political Leader, Philanthropist and former President of South Africa)."OpportunityBooks are considered to be the torchbearers for knowledge, helping mankind develop its intellect and create a world that is constantly developing. With an aim to make education more accessible, we have transformed books to digital, audio and visual formats.Despite all these efforts, books in any format are still inaccessible to various communities across our planet. It is now utterly important to focus on this lack of accessibility and prioritize towards creating a source of knowledge to isolated communities.Libraries as an educational incubator is a space that not only sheds light on conventional means of knowledge but also encourages its users to interact, share ideas and grow together. Rather than accepting urban migration as a given, a library can be designed with an aim to restore dignity and induce development.Can we rethink a library of the 21st-century public space where knowledge is not limited to books? Can we ignite the new age movement of learning?“A room without books is like a body without a soul.” - Marcus Tullius Cicero (Roman statesman and philosopher).ChallengeParticipants are to design a Tiny Library optimized for 50 users with engaging multifunctional spaces for all ages and spatial experience. The Tiny Library would be equipped with traditional reading material along with modern formats like e-books, audiobooks, audio-visual books etc.The space would be designed as a centralized think tank for the local communities with a focus on activities and functions of public interactions and community development.Participants should consider affordability and optimum use of space while designing. The designed space should be augmented to hold a maximum number of books in a limited space. The structure should not exceed 300 sq.mt. of built-up area.The proposed design should also be easy to maintain. The proposal should be iconic, inviting, and creating a statement of its own on the chosen site. The proposed design should have contact between humans and nature.The proposed designs can be visualized as mobile or stationary. One could also develop the given space as a flexible module that can be replicated so as to adapt to different site conditions, making it versatile in nature. Participants will be required to provide a justification for their design choices.The designed spaces should be innovative, encourage self-learning as well as strengthen the communal spirit. Energy saving and sustainability should be given a thought. We encourage the participants to develop their programs. The space designed should not be limited to the standard activities viz. reading and self-learning space, sanitation space, administration, reception or information desk. The design should provoke innovative activities that stimulate and accelerate learning.Site selectionRural populations across the globe face a mass exodus of its young population owing to the lack of education, health care, employment opportunities among many others.Participants are to choose a site in a rural or remote context for the proposal, wherever they feel accessibility to knowledge may change the existing circumstance. The design should be well integrated into the context.The site selected should be in a dire need of connecting to education and learning. The site should justify the participant’s design.AwardsPrizes of total USD 4500, broken down as follows:1st Prize: USD 2000 + Certificate + Publication2nd Prize: USD 1200 + Certificate + Publication3rd Prize: USD 800 + Certificate + Publication Student Award: USD 500 + Certificate + Publication10 Honourable mentions: CertificatesWinners and Honourable Mentions will be published on Volume Zero website and several international architecture and design magazines.To show our appreciation, all the participants would receive a participation certificate.ScheduleEarly Bird Registrations: 1st March 2025 to 15th May 2025 Standard Registrations: 16th May 2025 to 12th June 2025Last day for queries 10th June 2025Closing date for Submissions: 20th June 2025 Announcement of winners: 28th August 2025EligibilityTINY LIBRARY 2025 – Architecture Competition is open to all. We invite architects, students, engineers, product designers, thinkers, companies, organizations, and everyone interested in the mission of the competition to submit their ideas. No professional qualifications are necessary.Jury panelAvinash Ankalge A Threshold, IndiaBernardo Quinzaños CCA, MexicoChen Xi Atelier Xi, ChinaChenchen Hu HCCH Studio, ChinaDavid Barragán AL BORDE, EcuadorPetchimuthu Kennedy Earthscape Studio, IndiaPeter Rich Peter Rich Architects, South AfricaSong Yehao THAD SUP Atelier, ChinaSoumitro Ghosh Mathew and Ghosh Architects, IndiaSwapnil Valvatkar Collage Architecture Studio, IndiaRegistration feesEarly Bird Registrations:Participants from India – 2700+18% GST = INR 3186 (per team) Participants from Other Countries - 80 + 18% GST = USD 94.4 (per team)Standard Registrations:Participants from India – 3200 + 18% GST = INR 3776 (per team) Participants from Other Countries – 95+ 18% GST = USD 112.1 (per team)Download the competition brief from here: TL25 Brief.pdf.The top image courtesy of Volume Zero. > via Volume Zero 

Reallusion combines Vicon technology with industry-standard timecode support in iClone. Reallusion announces its official partnership with Vicon, enabling direct motion capture support for iClone. For the first time, Vicon systems can seamlessly connect with Motion LIVE, offering full integration of real-time, high-fidelity body capture, along with facial and hand mocap, all within one unified platform. Jeff Sheetz, founder of Monkey Chow Animation Studio, shares his experience with this powerful iClone-Vicon suite, which he believes delivers studio-quality results faster than ever before. Jeff Scheetz, Motion Capture Orlando Since leaving his role as co-founder of The Digital Animation & Visual Effect (DAVE) School, Jeff Scheetz, alongside his wife Anne, has been running Monkey Chow Animation Studio in Orlando, Florida. In 2021, they expanded into motion capture with the launch of Motion Capture Orlando, serving the theme park industry. Their work can be seen at Universal Studios and Walt Disney World, and they’ve also produced various motion capture packs for iClone and ActorCore, such as Run for Your Life, Bank Heist, and Avenging Warriors. Jeff’s team also collaborated with Actor Capture on the Netflix movie The Electric State. Key team members include senior mocap technicians Kaszmere Messbarger and Nelson Escobar. iClone and Vicon—The New Dynamic Duo One of the most exciting aspects of Jeff’s relationship with Reallusion is getting to test out cutting-edge technology before it’s officially released. When he was informed that iClone would soon support Vicon integration and timecode synchronization, it was a game-changer. Motion Capture Orlando has been using Vicon’s cameras and software since they started investing in mocap gear, but they were unable to integrate Vicon data directly into Motion LIVE until now. This breakthrough is especially significant for Jeff, as the previous workflow involved streaming Vicon data into Motion Builder for retargeting, and then moving that data into Unreal Engine. The integration of facial data, hand motion (via data gloves), and the inherent latency in this multi-step process presented challenges. Now, with iClone’s Motion LIVE, Vicon streams directly into iClone, allowing for seamless integration of face, body, and hand all within the platform. This streamlined approach reduces complexity, making it easier to execute live shows and set up production workflows. Record, Edit, and Render Previz in iClone When it comes to previz, speed and cost-effectiveness are essential. Traditional mocap workflows can be time-consuming due to the necessary exports and imports between different software tools. However, by recording directly into iClone, you can immediately start blocking shots, working out camera moves, and rendering previews. Jeff’s team recorded a few assassin chase scenes on their stage, using Motion LIVE to capture data, and the resulting iProject files served as the foundation for their productions. The quality of the capture was impressive due to starting with Vicon data. This allowed them to present high-quality previz to a director quickly. The renders included vital data on the edges, such as version info, lens used, and notes for feedback, helping the team stay organized throughout the process. From Previz to Polished Video: Cleaning and Syncing with Timecode After capturing mocap for the previz, the team performed proper data cleaning using Shogun Post (Vicon’s mocap cleaning software), and motion edits were carried out in iClone. They identified the best takes—approximately 20% of what was shot—and cleaned only those pieces. One major challenge was syncing the cleaned data, but the introduction of timecode has made this process much easier. Using the new Timecode Plugin, Jeff could instantly sync the cleaned motion data with the original timeline. By dropping the new motion (as an FBX) onto their character and selecting “Align Clip to Embedded Timecode”, iClone automatically aligned it with the original recording. This feature works not only for motion data but also for facial capture, hand data, audio, and video. Seamless Mocap Sync with Live Action This seamless integration was especially useful when creating a sitcom scene for Life with Bob! in which a live actress performed against a CGI character. Mocap actors, placed just out of frame, could improvise and interact with the CGI character. The use of a Tentacle Sync device transmitted timecode across all systems: Vicon, the Live Face app, the video camera, and sound recording devices. This made it incredibly easy to sync everything once the master shot was completed. Reshooting and Updating with Motion LIVE One of Jeff’s favorite features of this new workflow is the ability to quickly make adjustments, such as reshooting facial animation without the need for a full reshoot. Using his iPhone, he could capture just the parts that needed improvement, like the lips, while leaving other aspects of the face intact. The flexibility to isolate and reshoot specific elements is a major time-saver and enhances the overall efficiency of the production process. The New Workflow: Speed, Efficiency, and Creativity For creators using Reallusion products, the integration of Vicon with iClone opens up new possibilities for creating high-quality animated content in a fraction of the time previously required. For a more detailed insight into the workflow, please find the full article here. The new workflow allows for fast, professional results with minimal overhead. With the addition of the Timecode plugin, keeping everything aligned and organized is simple. Motion LIVE, combined with Vicon’s mocap system, empowers creators to focus on what matters most: creativity and storytelling. And after all, that’s why many of us got into animation in the first place. Brought to you by Reallusion: This article is part of the befores & afters VFX Insight series. If you’d like to promote your VFX/animation/CG tech or service, you can find out more about the VFX Insight series here. The post Pro-Level Mocap Sync: Stream Vicon in iClone for Real-Time Animation appeared first on befores & afters.