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Europese beurzen omlaag ondanks enthousiasme na cijfers Nvidia

AMSTERDAM (ANP) - De Europese aandelenmarkten zijn donderdag overwegend met kleine verliezen de handel uitgegaan. Op Wall Street zorgden nieuwe resultaten van chipconcern Nvidia voor hernieuwd enthousiasme over techaandelen. Maar in Europa bleven beleggers meer met hun hoofd bij andere zaken.

"Europa heeft een beperkte blootstelling aan technologie-aandelen", verklaarde een analist van de Zwitserse bank Swissquote aan persbureau Reuters. Zij onderstreepte dat het sentiment van beleggers tegelijk werd gedempt door aanhoudende zorgen over de inflatie en het vooruitzicht van verdere renteverhogingen door grote centrale banken.

De AEX-index op de beurs in Amsterdam sloot 0,4 procent lager op 1103,38 punten. De MidKap, met daarin de middelgrote fondsen op Beursplein 5, steeg 0,3 procent tot 1121,56 punten. De beurzen in Parijs en Londen daalden tot 1,7 procent. Frankfurt won 0,3 procent. Verder gingen de olieprijzen licht omhoog, na de stevige prijsdaling van eerder deze week.


HSL in 2028 en 2029 langer buiten gebruik voor herstel viaduct

UTRECHT (ANP) - Een groot deel van de hogesnelheidslijn (HSL) voor het treinverkeer zal langer buiten gebruik zijn dan eerder gedacht voor herstelwerkzaamheden. ProRail meldt dat het deel tussen Hoofddorp en Rotterdam in 2028 ruim drieënhalve maand dicht is voor werk aan een probleemviaduct bij Rijpwetering. Het spoor zal in 2029 nog eens vijftig dagen buiten gebruik zijn, is de inschatting.

Eerder zei ProRail dat het HSL-traject minstens 82 dagen dicht moet voor herstelwerkzaamheden bij Rijpwetering. Naast schadeherstel zijn hier ook aanpassingen nodig aan funderingen en landhoofden. De spoorwegbeheerder waarschuwt dat dit "onvermijdelijk gevolgen voor reizigers, vervoerders en de omgeving" heeft en onderzoekt omrijdroutes.

Door constructiefouten bij tien viaducten van de HSL moeten treinen op een deel van het traject al geruime tijd langzamer rijden. In plaats van 300 kilometer per uur, kunnen ze tussen Leiderdorp en Hoofddorp slechts 120 kilometer per uur. Volgens de planning van ProRail moeten treinen hier in 2031 weer op volle snelheid kunnen rijden.


Van de Vliet pakt in lichte skiff brons op WK in eigen land

AMSTELVEEN (ANP) - Femke van de Vliet heeft op de WK roeien op de Amsterdamse Bosbaan de eerste medaille voor Nederland veroverd. In de lichte skiff, een niet-olympisch nummer, pakte de 27-jarige skiffeuse het brons.

Van de Vliet moest de onder neutrale vlag uitkomende Russische Mariia Zhovner en de nieuwe wereldkampioene Kenia Lechuga uit Mexico voor zich dulden.

"Ik weet niet wat ik moet denken", zei een emotionele Van de Vliet na afloop in een flashinterview. "Ik weet niet of ik blij ben met brons, maar dat moet ik wel zijn, denk ik."

Eerder op de middag grepen Fedrik Ploeg en Erik van Eijck van Heslinga in de eveneens niet-olympische lichte dubbeltwee nog naast de medailles. Ze finishten op ruime afstand van de winnaars uit Oezbekistan als vijfde.


404 Media

404 Media is an independent media company founded by technology journalists Jason Koebler, Emanuel Maiberg, Samantha Cole, and Joseph Cox.

The Tragedy and Ecstasy of AI Companions (with Bridget Todd)

The Tragedy and Ecstasy of AI Companions (with Bridget Todd)

Tech companies want you to believe that the chatbots they profit from are the always ready, never judgmental, constantly affirming friend in our pockets. But are the people using them as companions under some kind of deep self-delusion? Or are they seeking something else? 

In this week’s interview episode, I was joined by journalist Bridget Todd. Among many other projects and accomplishments, Bridget is the creator and host of the award winning podcast There Are No Girls on the Internet, is a Fellow at the MacArthur Foundation, and an affiliate at Harvard University's Berkman Klein Center for Internet & Society. Her new audiobook, Love at First Prompt: AI and the Future of Intimacy, launched in July with coauthor Michael Amato.

We talk about her work interviewing people who use chatbots to fill an emotional need, how people who engage in romantic, intimate and erotic roleplay with LLMs are mocked for it, and how tech companies are implicated in all of this. In her new book, you’ll hear from experts in the field of AI companionship, but also from people who have nuanced, interesting interactions with chatbots every day. 

For Bridget, Love at First Prompt was inspired in large part by her own use of LLMs in the face of extreme stress and tragedy after her parents died – her dad after a long illness, and her mom more suddenly after. “It was like having to relearn how I fit into my existing social dynamic,” she told me. “I was incredibly isolated. I wasn't really talking to my friends. I wasn't really talking to anybody. I wasn't really returning any emails. I was completely overwhelmed in all the ways somebody can be overwhelmed.” She’d been using ChatGPT to keep track of medical notes, but soon that changed, almost without her realizing it.

“My use of ChatGPT had gone from just looking up things that my dad's doctor would say, or researching how to get care and how to pay for care – it was a lot of that because I was getting hit with a lot of complex medical jargon that I never heard – to then, I found myself late at night telling ChatGPT, ‘I'm so overwhelmed. This is so overwhelming. I'm so exhausted. I'm so worried about my dad. I'm so anxious.’ And so there wasn't any particular black and white light switch that flipped where [I thought] now I'm going to start speaking emotionally to ChatGPT. It happened without me really even noticing it.”

This made her curious about other people’s usage of chatbots, especially in a time when so many tech companies are pushing “AI companions” as the frontier of connection.

In the book, she breaks down how real people use LLMs to fill an emotional need, and connects their experiences to how tech executives are cashing in. “All of these things that we used to think of as sacrosanct are now just up for grabs by these tech companies. And so the question that I asked people who were experiencing intimacy with AI was, are you comfortable with something as intimate as these connections that are romantic or sexual being owned and controlled by companies who don't give a shit about you, who we know cannot be trusted, who do horrible things without even thinking about it? Even beyond that, who will change as the wind blows?” Bridget said in our conversation. “Like Sam Altman saying, ‘We're gonna start doing erotic role play. Oh, just kidding. Never mind.’ The whiplash with which [execs] say things and then take it back and then operate as if they never said that, it's almost like gaslighting. Do you want your most intimate human connections being mediated by an unreliable gaslighter? And that's what we have in these tech companies.”

Bridget’s book is her most vulnerable work yet. She unpacks and critiques her own use of ChatGPT during a crisis, and reveals what she learned about herself, her friendships and real-life relationships, and what it means to maintain human connections in an era tech companies are constantly trying to exploit our innermost worlds.

Further reading:


Cocomelon's Studio Tells Its Artists to Start Experimenting With AI

Cocomelon's Studio Tells Its Artists to Start Experimenting With AI

Moonbug Entertainment, the children’s entertainment studio that makes the hugely popular shows Cocomelon, Little Baby Bum, Blippi, and Mia’s Magic Playground has asked its animators to start using artificial intelligence while making its shows, 404 Media has learned.

Moonbug’s Generative AI policy and its “Studio AI Bible,” a guide to using AI to help generate content, seen by 404 Media, explain in detail how its AI use will work. The policies indicate that the company is in the initial stages of experimenting with AI in the creation of its shows, but that for the moment it has put several guardrails in place in part over legal and copyright concerns associated with using AI in a more substantial way. 

“Keep a human in the loop when using AI. AI is used to assist the artist, not be the artist,” the guidelines say. “Always remember that we can only own (copyright) what a human has created and so we need to ensure the final execution involves substantial human creative input. Our core IP (e.g. key characters/signature worlds and important backgrounds) must reflect substantial human creative input and intentionality.” 

The documents show in detail how a major studio, which runs an empire of content that is wildly popular with infants, toddlers, and their families, is using AI. Moonbug’s shows have hundreds of millions of subscribers on YouTube, and many of its shows have spinoff series and movies that air across several major streaming services. Cocomelon spinoffs air on Netflix, the studio is working on a Cocomelon movie for Universal, and the series is set to move to Disney+ next year. YouTube has been flooded with AI-generated content for infants and toddlers, but these documents indicate that even the biggest companies in the industry are using AI, albeit with far more thought and care than slop purveyors. Its properties also have various popular children and baby toys.

“Like many media companies, we're exploring how AI tools can support our creative and production teams. Today, generative AI is not used in episodes of our content,” a Moonbug spokesperson told 404 Media. “Our core principle is that AI should assist the artist, not be the artist. Our guidelines prohibit AI from originating key creative elements such as new characters, core storylines and song lyrics, and require substantial human creative input. Everything we produce — whether they incorporate AI-assisted elements or not — goes through our human-led creative and quality-control process, including frame-by-frame human eyeball review, and rounds of iterations and notes from our creative and production teams.”

The guidelines say that AI can be used for ideation, scripting, storyboarding, design, and animation, but has put guardrails on how AI can be used in each step of the process. 

For example, the company says animators can use AI for “utility tasks/standard production enhancers,” but cannot use it to “alter a VO/actor’s performance without checking with Legal.” It says AI can be used “to refine a human-authored draft,” but “no ghost-writing. Do not generate key creative elements (character arcs, core plot twists, song lyrics) from scratch by AI. The narrative ‘soul’ and key dialogue beats must remain human-authored.” The company says AI can be used to “generate visual research, vibe boards, brainstorm ideas and concepts and exploring texture/colour/lighting references,” but that there is “no ‘prompt to product.’ […] do not move a 100% AI-generated design directly into the production pipeline. It must be translated into a studio-drawn concept to ensure it meets our technical standards and style.”  

At times, the guide gets very granular. It says workers are allowed to use AI to create “generic” designs and textures, such as trees in a background or furniture, for character outfit changes, or for “creating 3D turnarounds from existing human-created 2D characters,” but usually cannot use it to create wholly new characters. “The [AI] assets must be processed by an artist (eg over-painted, tweaked) to ensure human in loop. All new characters should be human created (unless have had approval for specific IPs). Props — if we are creating something unique and to be heavily featured in the series e.g. the Clubhouse — it must be human created. All franchise specific worlds should be human created (unless intended to be generic).”

The company is requiring employees to “first test all tools with non Moonbug IP and/or test assets before proceeding with legal approval.” After being approved by legal, employees are allowed to use AI to help create assets for Moonbug shows, but all AI use, including the prompts used to generate assets, must be cataloged and saved. The company spokesperson told 404 Media that “non Moonbug IP” refers to generic assets that the company has made: “We created generic test characters and environments so teams can freely explore new tools without using Moonbug IP or anyone else's IP. If a tool proves useful, further testing with Moonbug IP requires appropriate approvals.”

“Making content for young children comes with a particular responsibility, regardless of the tools involved,” the spokesperson added. “Our GenAI guidelines add another layer of guardrails: no ‘prompt-to-product,’ human authorship of core creative elements, approved tools and legal review, protections around performers and third-party IP, and human review of finished work. Ultimately, people make the creative decisions about what is appropriate and worthy of our audience.”

All AI tools that the company uses must have individual legal approval, and all AI-generated assets must be kept in separate file folders than human-created ones using a system it is calling “provenance and isolation,” according to the guidelines. The “goal” of this file management system is “to ensure we always have a path back to human-authored works to maintain copyright ownership over what matters.” 

“Every project must have a dedicated folder for AI generated assets. No file from this folder should be moved into main production folders without being processed by human artist [sic] first. All 100% human created assets must also be stored and labeled properly,” the guidelines say. Workers must log all of their AI prompts, then also write an explanation of how a human transformed the asset if it is ultimately used in production. 

A section of the document called “prompt guidance” says that workers should begin the AI production process by “upload[ing] a human-drawn sketch/Moonbug owned IP as a structural reference, use AI as a refiner eg to add texture/lighting.” It says “No text-to-image prompting (unless for brainstorming/research,” and “no style mimicking or soundalikes — do not use prompts like ‘in the style of Pixar/Ghibli’ etc. Use descriptive artistic terms instead — eg ‘hand-painted water colour aesthetic’ or ‘vibrant street-art aesthetic, chromatic aberration.’”

In May, workers with the International Alliance of Theatrical Stage Employees working on a live action Cocomelon spinoff show went on strike, alleging that they were not being provided fair wages and benefits.

“We see AI as a tool that can expand what talented creative people are able to do, not a substitute for the people who create our stories,” the Moonbug spokesperson said. “We're exploring whether these tools can reduce repetitive work, enhance the creative process and potentially allow our teams to create more stories and experiences for families.”


The Guardian

Latest news, sport, business, comment, analysis and reviews from the Guardian, the world's leading liberal voice

Rebecca Hendin on Mark Zuckerberg and the Meta court settlement – cartoon

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Spurs still paying price for a punishing World Cup and pre-season trip to Australia

Too many players are off the pace and although Tottenham brushed aside Charlton, Newcastle will be a tougher challenge

Jan Paul van Hecke was among those given an unwanted name-check by Roberto De Zerbi after Tottenham’s 3-0 defeat at Brentford on Saturday. Not at the right level physically, was the gist of the manager’s comments. De Zerbi also mentioned Marcos Senesi and Sandro Tonali, two of the club’s other new signings. Their condition had to come as no surprise. It certainly did not to De Zerbi.

Take the case of Van Hecke, for whom the summer months have been a whirlwind. A few bullet-points from his timeline are worth noting. 18 June: joins Spurs from Brighton for £52m; 30 June: knocked out of World Cup with the Netherlands after last-32 penalty shootout defeat to Morocco; 23 July: boards team flight with Spurs for pre-season tour to New Zealand and Australia. “It was a really short break, to be honest,” Van Hecke says. “But I didn’t want to miss anything in the pre-season. My first days [as a Spurs player] were in New Zealand and Australia.”

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Officials urge calm after malaria outbreak kills two staff at Frankfurt airport

Mosquito traps are set up at Germany’s biggest airport and doctors are asked to look out for symptoms of disease

German health officials are seeking to reassure the public after two workers at the country’s biggest airport died of malaria.

Mosquito traps have been set up at Frankfurt airport and a mosquito monitoring process is under way. A detailed investigation is being conducted to clarify how the workers contracted the disease.

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Momijidani park bridge

k4ischrader has added a photo to the pool:

Momijidani park bridge

Miyajima, Japan 2024

The Register

Biting the hand that feeds IT — Enterprise Technology News and Analysis

ATF responds to 'major' cybersecurity incident after ransomware gang's claims

The Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF) said it’s responding to a “major” cybersecurity incident shortly after the Qilin ransomware gang posted the US federal law enforcement agency on its leak site. According to ATF's statement, the intrusion affected a standalone system that operated separately from its enterprise network. “There is no indication that the incident has affected the ATF enterprise network, the ATF eForms system, or any other ATF system,” the statement said. ATF, which is housed under the US Department of Justice, said it’s “coordinating closely” with the DOJ to investigate the breach, and “immediately” blocked connections to the affected IT environment upon discovering the incident. The statement said the security breach had not affected ATF’s operations and noted that senior Justice Department officials designated the compromise as a “major incident” under federal guidelines. Shortly before ATF posted its security-incident notice on its website, Russia-linked Qilin ransomware criminals listed the firearms agency on its leak site. The post, seen by The Register and shared on social media, did not say what data Qilin claimed to have stolen, how much, or provide samples to substantiate the claim. ATF did not immediately respond to our questions, and we will update this story when we receive a response. Qilin, the notorious crew behind the 2024 attack on pathology provider Synnovis that disrupted NHS services in the UK, was one of the most prolific ransomware gangs in July, according to Comparitech. The firm, which reviews cybersecurity products and provides data analysis, counted 799 ransomware incidents last month, up from 668 in June. Qilin claimed 125 of those.®