"How does it feel to be replaced by a bot?" asks the Guardian — interviewing several creative workers who know:

• Gardening copywriter Annabel Beales "One day, I overheard my boss saying to a colleague, 'Just put it in ChatGPT....' [My manager] stressed that my job was safe. Six weeks later, I was called to a meeting with HR. They told me they were letting me go immediately. It was just before Christmas...
  
  "The company's website is sad to see now. It's all AI-generated and factual — there's no substance, or sense of actually enjoying gardening."

• Voice actor Richie Tavake "[My producer] told me he had input my voice into AI software to say the extra line. But he hadn't asked my permission. I later found out he had uploaded my voice to a platform, allowing other producers to access it. I requested its removal, but it took me a week, and I had to speak to five people to get it done... Actors don't get paid for any of the extra AI-generated stuff, and they lose their jobs. I've seen it happen."

• Graphic designer Jadun Sykes "One day, HR told me my role was no longer required as much of my work was being replaced by AI. I made a YouTube video about my experience. It went viral and I received hundreds of responses from graphic designers in the same boat, which made me realise I'm not the only victim — it's happening globally..."

Labor economist Aaron Sojourner recently reminded CNN that even in the 1980s and 90s, the arrival of cheap personal computers only ultimately boosted labor productivity by about 3%. That seems to argue against a massive displacement of human jobs — but these anecdotes suggest some jobs already are being lost...

Thanks to long-time Slashdot readers Paul Fernhout and Bruce66423 for sharing the article.

Electronic Arts has canceled its in-development Black Panther game and shut down Cliffhanger Games, marking its third round of layoffs this year. IGN reports: In an email sent to staff from EA Entertainment president Laura Miele, Miele said that these changes, alongside other recent cancellations and layoffs, are being done to "sharpen our focus and put our creative energy behind the most significant growth opportunities." In addition to closing Cliffhanger and canceling Black Panther, EA is also laying off some individuals on both its mobile and central teams. [...] As with past rounds of layoffs, EA is endeavoring to place affected individuals in other roles across the company. [...]

To that end, Miele's email continues, the company is focusing on a small handful of franchises going forward: Battlefield, The Sims, Skate, and Apex Legends. Miele also reassures EA will continue to invest in its Iron Man game at Motive and the third Star Wars: Jedi game, as well as it maintain its mobile business despite today's cuts, while Bioware works on the next Mass Effect. Additionally, last year, CEO Andrew Wilson announced the company would be "moving away from development of future licensed IP that we do not believe will be successful in our changing industry." The email doesn't mention EA Sports, but this is due to Miele running EA Entertainment, while EA Sports is a separate division. IGN understands that the sports division is unaffected by these changes for now.

Notably, Marvel and EA's agreement for Black Panther was part of a three-game deal that included Iron Man and a third, unannounced title. IGN understands this partnership will continue, with Motive Studios leading future Marvel titles. EA provided the following statement regarding the deal with Marvel to IGN, attributed to Miele: "Our partnership with Marvel remains strong and our multi-title, long-term collaboration continues."

In an interview with Wired (paywalled), OnePlus co-founder and Nothing CEO, Carl Pei, said the future of smartphones will center around the OS and AI to get things done -- rendering traditional apps a thing of the past. 9to5Google reports: Pei says that Nothing's strength is in "creativity," adding that "the creative companies of the past" such as Apple "have become very big and very corporate, and they're no longer very creative." He then dives into what else but AI, explaining that Nothing wants to create the "iPod" of AI, saying that Apple built a product that simply built a better user experience: "If you look back, the iPod was not launched as 'an MP3 player with a hard disk drive.' The hard disk drive was merely a means to a better user experience. AI is just a new technology that enables us to create better products for users. So, our strategy is not to make big claims that AI is going to change the world and revolutionize smartphones. For us, it's about using it to solve a consumer problem, not to tell a big story. We want the product to be the story."

Pei then says that he doesn't see the current trend of AI products -- citing wearables such as smart glasses -- as the future of the technology. Rather, he sees the smartphone as the most important device for AI "for the foreseeable future," but as one that will "change dramatically." According to Pei, the future of the smartphone is one without apps, with the experience instead just revolving around the OS and what it can do and how it can "optimize" for the user, acting as a proactive, automated agent and that, in the end, the user "will spend less time doing boring things and more time on what they care about."

Marvel Entertainment and DC Comics have announced their first crossover event since 2003's JLA/Avengers, featuring Deadpool and Batman in dual one-shot publications launching later this year. Deadpool/Batman one-shot launches September 17 and follows Wade Wilson hired for a Gotham City job that puts him against Batman.

DC's Batman/Deadpool counterpart launches in November. Both publications will include additional "backup adventures" featuring other character matchups, though creative teams for those remain unannounced. The crossover required extensive coordination between the companies' editorial schedules, which typically plan two to three years in advance.

As policy makers in the UK weigh how to regulate the AI industry, Nick Clegg, former UK deputy prime minister and former Meta executive, claimed a push for artist consent would "basically kill" the AI industry. From a report: Speaking at an event promoting his new book, Clegg said the creative community should have the right to opt out of having their work used to train AI models. But he claimed it wasn't feasible to ask for consent before ingesting their work first.

"I think the creative community wants to go a step further," Clegg said according to The Times. "Quite a lot of voices say, 'You can only train on my content, [if you] first ask.' And I have to say that strikes me as somewhat implausible because these systems train on vast amounts of data."

"I just don't know how you go around, asking everyone first. I just don't see how that would work," Clegg said. "And by the way if you did it in Britain and no one else did it, you would basically kill the AI industry in this country overnight."

Doom: The Dark Ages just launched on May 15. But it's already received "difficulty" balance changes "that have made the demons of Hell even more dangerous than ever," writes Windows Central: According to DOOM's official website Slayer's Club, these balance adjustments are focused on making the game harder, as players have been leaving feedback saying it felt too easy even on Nightmare Mode. As a result, enemies now hit harder, health and armor item pick-ups drop less often, and certain enemies punish you more severely for mistiming the parry mechanic.
It reached three million players in just five days, which was seven times faster than 2020's Doom: Eternal," reports Wccftech (though according to analytics firm Ampere Analysis (via The Game Business), more than two million of those three million launch players were playing on Xbox, while only 500K were playing on PS5.") "id Software proves it can still reinvent the wheel," according to one reviewer, "shaking up numerous aspects of gameplay, exchanging elaborate platforming for brutal on-the-ground action, as well as the ability to soar on a dragon's back or stomp around in a giant mech."

And the New York Times says the game "effectively reinvents the hellish shooter with a revamped movement system and deepened lore" in the medieval goth-themed game... Double jumping and dashing are ditched and replaced with an emphasis on raw power and slow, strategic melee combat. Doom Slayer's arsenal features a brand-new tool, the powerful Shield Saw, which Id Software made a point to showcase across its "Stand and Fight" trailers and advertisements. Used for absorbing damage at the expense of speed, the saw also allows players to bash enemies from afar and close the gap on chasms too wide to jump across. While previous titles allowed players to quickly worm their way through bullet hell, The Dark Ages expects you to meet foes head on. "If you were an F-22 fighter jet in Doom Eternal, this time around we wanted you to feel like an Abrams tank," Hugo Martin, the game's creative director, has told journalists.

And Doom Slayer's beefy durability and unstoppable nature does make the gameplay a refreshing experience. The badassery is somehow ratcheted to new heights with the inclusion of a fully controllable mech, which has only a handful of attacks at its disposal, and actual dragons. Flight in a Doom game is entirely surprising and fluid, and the dragons feel relatively easy to maneuver through tight spots. They can also engage in combat more deliberately with the use of dodges and mounted cannons...

One of my favorite additions is the skullcrusher pulverizer. Equal parts heinous nutcracker and demonic woodchipper, the gun lodges skulls into a grinder and sends shards of bones flying at enemies. The animation is both goofy and satisfying.
Another special Times article notes that Doom's fans "resurrect the original game over and over again on progressively stranger pieces of hardware: a Mazda Miata, a NordicTrack treadmill, a French pharmacy sign." But what many hard-core tech hobbyists want to know is whether you can play it on a pregnancy test. The answer: positively yes. And for the first time, even New York Times readers can play Doom within The Times's site [after creating a free account]...

None of this happened by accident, of course. Ports were not incidental to Doom's development. They were a core consideration. "Doom was developed in a really unique way that lent a high degree of portability to its code base," said John Romero, who programmed the game with John Carmack. (In our interview, he then reminisced about operating systems for the next 14 minutes.) Id had developed Wolfenstein 3D, the Nazi-killing predecessor to Doom, on PCs. To build Doom, Carmack and Romero used NeXT, the hardware and software company founded by Steve Jobs after his ouster from Apple in 1985. NeXT computers were powerful, selling for about $25,000 apiece in today's dollars. And any game designed on that system would require porting to the more humdrum PCs encountered by consumers at computer labs or office jobs.

This turned out to be advantageous because Carmack had a special aptitude for ports. All of Id's founders met as colleagues at Softdisk, which had hired Carmack because of his ability to spin off multiple versions of a single game. The group decided to strike out on its own after Carmack created a near-perfect replica of the first level of Super Mario Bros. 3 — Nintendo's best-selling platformer — on a PC. It was a wonder of software engineering that compensated for limited processing power with clever workarounds. "This is the thing that everyone has," Romero said of PCs. "The fact that we could figure out how to make it become a game console was world changing...."

Romero founded a series of game studios after leaving Id in 1996 and is working on a new first-person shooter, the genre he and Carmack practically invented. He has no illusions about how it may stack up. "I absolutely accept that Doom is the best game I'll ever make that has that kind of a reach," he said. "At some point you make the best thing." Thirty years on, people are still making it.
And in related news, PC Gamer reports... As part of a new "FPS Fridays" series on Twitch, legendary shooter designer John Romero streamed New Blood's 2018 hit, Dusk, one of the first and most influential indie "boomer shooters" in the genre's recent revitalization. The short of it? Romero seems to have had a blast.

Sam Altman, OpenAI's chief executive, said Wednesday his firm was paying $6.5 billion to buy io, a one-year-old start-up created by Jony Ive, a former top Apple executive who designed the iPhone. From a report: The deal, which effectively unites Silicon Valley royalty, is intended to usher in what the two men call "a new family of products" for the age of artificial general intelligence, or A.G.I., which is shorthand for a future technology that achieves human-level intelligence.

The deal, which is OpenAI's biggest acquisition, will bring in Mr. Ive and his team of roughly 55 engineers, designers and researchers. They will assume creative and design responsibilities across OpenAI and build hardware that helps people better interact with the technology. In a joint interview, Mr. Ive and Mr. Altman declined to say what such devices could look like and how they might work, but they said they hoped to share details next year. Mr. Ive, 58, framed the ambitions as galactic, with the aim of creating "amazing products that elevate humanity."

Adobe will rebrand its Creative Cloud All Apps subscription to "Creative Cloud Pro" on June 17 for North American users, making significant price increases while bundling AI features. Individual annual subscribers will see monthly rates jump from $59.99 to $69.99, while monthly non-contracted subscribers face a $15 hike to $104.99.

The revamped plan includes unlimited generative AI image credits, 4,000 monthly "premium" AI video and audio credits, access to third-party models like OpenAI's GPT, and the beta Firefly Boards collaborative whiteboard. Adobe will also offer a cheaper "Creative Cloud Standard" option at $54.99 monthly with severely reduced AI capabilities, but this plan remains exclusive to existing subscribers -- forcing new customers into the pricier AI-focused tier.

A Curl contributor replaced an ASCII letter with a Unicode alternative in a pull request, writes Curl lead developer/founder Daniel Stenberg. And not a single human reviewer on the team (or any of their CI jobs) noticed.

The change "looked identical to the ASCII version, so it was not possible to visually spot this..." The impact of changing one or more letters in a URL can of course be devastating depending on conditions... [W]e have implemented checks to help us poor humans spot things like this. To detect malicious Unicode. We have added a CI job that scans all files and validates every UTF-8 sequence in the git repository.

In the curl git repository most files and most content are plain old ASCII so we can "easily" whitelist a small set of UTF-8 sequences and some specific files, the rest of the files are simply not allowed to use UTF-8 at all as they will then fail the CI job and turn up red. In order to drive this change home, we went through all the test files in the curl repository and made sure that all the UTF-8 occurrences were instead replaced by other kind of escape sequences and similar. Some of them were also used more or less by mistake and could easily be replaced by their ASCII counterparts.

The next time someone tries this stunt on us it could be someone with less good intentions, but now ideally our CI will tell us... We want and strive to be proactive and tighten everything before malicious people exploit some weakness somewhere but security remains this never-ending race where we can only do the best we can and while the other side is working in silence and might at some future point attack us in new creative ways we had not anticipated. That future unknown attack is a tricky thing.
In the original blog post Stenberg complained he got "barely no responses" from GitHub (joking "perhaps they are all just too busy implementing the next AI feature we don't want.") But hours later he posted an update.

"GitHub has told me they have raised this as a security issue internally and they are working on a fix."

Microsoft has stopped production of the Surface Laptop Studio 2 and will mark it as end-of-life in June, with no successor currently planned. Tom's Hardware reports: The Surface Laptop Studio 2 is being put out to pasture quietly, much like other devices that the company has sunset. The Surface Studio, a desktop PC that folded down into a creative studio for drawing, was formally discontinued in December without a successor. Microsoft's audio products, the Surface Headphones 2 and Surface Earbuds, have also quietly disappeared.

The Surface Laptop Studio's discontinuance comes at a hazy time for the Surface brand. On the one hand, two new devices -- the Surface Pro 12-inch and Surface Laptop 13-inch -- were just announced and are set to release next week. On the other hand, the lineup lost its champion, former chief Panos Panay, who left Microsoft for Amazon in 2023, reportedly over budget issues and product cancellations. Panay was succeeded by Pavan Davuluri.

Since Panay's departure, the lineup has been cut down to just the Surface Laptop, Surface Pro, and the Surface Go 4, the latter of which is only sold to business customers at the moment. Without the Surface Laptop Studio, Microsoft has removed systems with discrete GPUs from its hardware lineup, potentially alienating creatives and gamers. Prior to the Surface Laptop Studio, Microsoft's powerhouse system was the Surface Book, which combined a tablet with a base featuring a discrete GPU.

Google has warned that the hacker group known as "Scattered Spider," which recently disrupted UK retailer Marks & Spencer, is now targeting U.S. retailers with aggressive and sophisticated cyberattacks. "U.S. retailers should take note. These actors are aggressive, creative, and particularly effective at circumventing mature security programs," John Hultquist, an analyst at Google's cybersecurity arm, said in an email sent on Wednesday. The Guardian reports: Scattered Spider is widely reported to have been behind the particularly disruptive hack at M&S, one of the best-known names in British business, whose online operations have been frozen since 25 April. It has a history of focusing on a single sector at a time and is likely to target retail for a while longer, Hultquist said. Just a day before Google's warning, M&S announced that some customer data had been accessed, but this did not include usable payment or card details, or any account passwords. The Guardian understands the details taken are names, addresses and order histories. M&S said personal information had been accessed because of the "sophisticated nature of the incident."

"Today, we are writing to customers informing them that due to the sophisticated nature of the incident, some of their personal customer data has been taken," the company said. Hackers from the Scattered Spider ecosystem have been behind a slew of disruptive break-ins on both sides of the Atlantic. In 2023, hackers tied to the group made headlines for hacking the casino operators MGM Resorts International and Caesars Entertainment. Law enforcement has struggled to get a handle on the Scattered Spider hacking groups, in part because of their amorphousness, the hackers' youth, and a lack of cooperation from cybercrime victims.

Over 400 prominent UK media and arts figures -- including Paul McCartney, Elton John, and Ian McKellen -- have urged the prime minister to support an amendment to the Data Bill that would require AI companies to disclose which copyrighted works they use for training. The Register reports: The UK government proposes to allow exceptions to copyright rules in the case of text and data mining needed for AI training, with an opt-out option for content producers. "Government amendments requiring an economic impact assessment and reports on the feasibility of an 'opt-out' copyright regime and transparency requirements do not meet the moment, but simply leave creators open to years of copyright theft," the letter says.

The group -- which also includes Kate Bush, Robbie Williams, Tom Stoppard, and Russell T Davies -- said the amendments tabled for the Lords debate would create a requirement for AI firms to tell copyright owners which individual works they have ingested. "Copyright law is not broken, but you can't enforce the law if you can't see the crime taking place. Transparency requirements would make the risk of infringement too great for AI firms to continue to break the law," the letter states. Baroness Kidron, who proposed the amendment, said: "How AI is developed and who it benefits are two of the most important questions of our time. The UK creative industries reflect our national stories, drive tourism, create wealth for the nation, and provide 2.4 million jobs across our four nations. They must not be sacrificed to the interests of a handful of US tech companies." Baroness Kidron added: "The UK is in a unique position to take its place as a global player in the international AI supply chain, but to grasp that opportunity requires the transparency provided for in my amendments, which are essential to create a vibrant licensing market."

The letter was also signed by a number of media organizations, including the Financial Times, the Daily Mail, and the National Union of Journalists.

At its Config 2025 event on Wednesday, Figma unveiled four new AI-powered tools -- Sites, Make, Buzz, and Draw, positioning itself as a full-stack design platform to rival Adobe, WordPress, and Canva. These tools enable users to build websites, generate code, create marketing content, and design vector graphics without leaving the Figma ecosystem. The Verge reports: Figma's first solution is Figma Sites, a website builder that integrates with Figma Design and allows creators to turn their projects into live, functional sites. Figma Sites provides presets for layouts, blocks, templates, and interactions that aim to make building websites less complex and time-consuming. Additional components like custom animations can also be added either using existing code or by prompting Site's AI tool to generate new interaction codes via text descriptions, such as "animate the text to fall into place like a feather." Figma Sites is rolling out in beta for users with full seat access to Figma products. Figma says that AI code generation will be available "in the coming weeks," and that a CMS that allows designers to manage site content will be launched "later this year."

Figma Make is Figma's take on AI coding tools like Google's Gemini Code Assist and Microsoft's GitHub Copilot. The prompt-to-code Figma Make tool is powered by Anthropic's Claude 3.7 model and can build working prototypes and apps based on descriptions or existing designs, such as creating a functional music player that displays a disc that spins when new tracks are played. Specific elements of working design, like text formatting and font style, can be manually edited or adjusted using additional AI prompts. Make is rolling out in beta for full seat Figma users. Figma says it's "exploring integrations with third parties and design systems" for Figma Make and may apply the tool to other apps within its design platform.

Figma Buzz is a marketing-focused design app that's rolling out in beta to all users, and makes it easier for teams to publish brand content, similar to Canva's product design platform. The tool allows Figma designers to create brand-approved templates, styles, and assets that can be used by marketers to quickly assemble emails, social media posts, advertising, and more. Figma Buzz includes generative AI tools for making and editing images using text prompts, and can source information from spreadsheets to bulk create thousands of image assets at once.

Lastly, the Figma Draw vector design app is like a simplified version of Adobe Illustrator that creatives can use to make custom visuals without leaving the Figma platform. It includes a variety of brushes, texture effects, and vector editing tools to create or adjust scalable images and logos for product design projects. Figma Draw is generally available now for full seat users as a toggle in Figma Design, with some features accessible in Sites, Slides, and Buzz. It's not quite as expansive as Adobe's wider Creative Cloud ecosystem, but Figma Draw places the two companies in direct competition for the first time since Adobe killed its own XD product design platform. It also brings some new options to the creative software industry after Adobe failed to acquire Figma for $20 billion due to pressure from competition regulators.

The highest-rated video games of 2025 are all budget-priced titles, with Metacritic top performers Clair Obscur: Expedition 33, Blue Prince, and Split Fiction costing just $50, $30, and $50 respectively. This comes as Microsoft announces certain Xbox titles will now cost $80, following Nintendo's similar price hike for Mario Kart on Switch 2.

Clair Obscur, developed by a small French studio, sold 1 million copies in its first week. Split Fiction, despite being published by EA, was created by a small Stockholm team and has reached 2 million sales. Blue Prince, a puzzle-roguelike largely created by a single developer in Los Angeles, is showing strong performance on Steam, Bloomberg reports.

All three games share key traits: they use commercially available engines, take creative risks that big-budget projects couldn't afford, and target specific player demographics rather than trying to appeal broadly. The contrast is striking -- Clair Obscur's developers celebrated reaching 1 million sales while EA declared Dragon Age: The Veilguard a failure with similar numbers, underscoring the economic realities of different development scales.

Yahoo Finance reports that Mark Zuckerberg made bold predictions for investors on Meta's earnings call this week — about advertisers. "AI has already made us better at targeting and finding the audiences that will be interested in their products than many businesses are themselves," Zuck said, "and that keeps improving..."

"If we deliver on this vision, then over the coming years, I think that the increased productivity from AI will make advertising a meaningfully larger share of global GDP than it is today..." If investors are still searching for answers to nagging questions about how massive AI investments will pay off, Zuckerberg provided the clearest reply yet: It will strengthen our core business. In fact, it is our business... On what many believe to be the cusp of an economic downturn, Meta isn't pitching its AI developments as an add-on to its operations, but as something central to its core proposition of targeted advertising...

"While Meta's investments in GenAI have spooked certain investors who continue to question the return on these investments, we saw further signs of GenAI monetization in the firm's ad business," wrote Morningstar equity analyst Malik Ahmed Khan in a note on Thursday. In a powerful showing, coming after Alphabet's own impressive results, Meta noted that a new ads recommendation model it's testing for Reels has already boosted conversion rates by 5%. And nearly one-third of advertisers were using AI creative tools in the past quarter. For Zuckerberg, the enhancements AI offers to finding the right consumers and providing measurable results strengthen the case for boosting capacity and for a revamped model of advertising's scope.

And with the company set to invest upwards of $70 billion toward its AI opportunity this year, the bet is not all about ads, of course. Zuckerberg outlined four other areas of focus for its AI efforts: business messaging, Meta AI, AI devices, and more engaging experiences. Meta's efforts can also be viewed as an ambitious play to take on its rivals across tech's legacy and emerging platforms. As John Blackledge, senior analyst at TD Cowen, said in a note on Thursday, the AI opportunities Zuckerberg outlined are about "ultimately taking on Google search, iPhone and ChatGPT all at once."
In the pre-AI world, "Businesses used to have to generate their own ad creative and define what audiences they wanted to reach," Zuckerberg told Meta's investors this week.

And by Friday's closing, Meta's stock had jumped 12.6% over its value Wednesday morning, leading Yahoo Finance to conclude that Wall Street "appears to be buying into" Zuckerberg's vision.

According to an email posted on Duolingo's LinkedIn, the language learning app will "gradually stop using contractors to do work that AI can handle." Co-founder and CEO Luis von Ahn also said the company will be "AI-first." The Verge reports: According to von Ahn, being "AI-first" means the company will "need to rethink much of how we work" and that "making minor tweaks to systems designed for humans won't get us there." As part of the shift, the company will roll out "a few constructive constraints," including the changes to how it works with contractors, looking for AI use in hiring and in performance reviews, and that "headcount will only be given if a team cannot automate more of their work."

von Ahn says that "Duolingo will remain a company that cares deeply about its employees" and that "this isn't about replacing Duos with AI." Instead, he says that the changes are "about removing bottlenecks" so that employees can "focus on creative work and real problems, not repetitive tasks."

"AI isn't just a productivity boost," von Ahn says. "It helps us get closer to our mission. To teach well, we need to create a massive amount of content, and doing that manually doesn't scale. One of the best decisions we made recently was replacing a slow, manual content creation process with one powered by AI. Without AI, it would take us decades to scale our content to more learners. We owe it to our learners to get them this content ASAP."

An anonymous reader quotes a report from Ars Technica: Wizards of the Coast has released the System Reference Document, the heart of the three core rule books that constitute Dungeons & Dragons' 2024 gameplay, under a Creative Commons license. This means the company cannot alter the deal further, like it almost did in early 2023, leading to considerable pushback and, eventually, a retreat. It was a long quest, but the lawful good party has earned some long-term rewards, including a new, similarly licensed reference book. [...] Version 5.2 of the SRD, all 360-plus pages of it, has now been released under the same Creative Commons license. The major change is that it includes more 2024 5th edition (i.e., D&D One) rules and content, while version 5.1 focused on 2014 rules. Legally, you can now design and publish campaigns under the 2024 5th edition rule set. More importantly, more aspects of the newest D&D rule books are available under a free license:

- "Rhythm of Play" and "Exploration" documentation
- More character origins and backgrounds, including criminal, sage, soldier, and the goliath and orc species.
- 16 feats, including archery, great weapon fighting, and seven boons
- Five bits of equipment, 20 spells, 15 magic items, and 17 monsters, including the hippopotamus

There are some aspects of D&D you still can't really touch without bumping up against copyrights. Certain monsters from the Monster Manual, like the Kraken, are in the public domain, but their specific stats in the D&D rulebook are copyrighted. Iconic creatures and species like the Beholder, Displacer Beast, Illithid, Githyanki, Yuan-Ti, and others remain the property of WotC (and thereby Hasbro). As a creator, you'll still need to do some History (or is it Arcana?) checks before you publish and sell.

An anonymous reader quotes a report from Popular Mechanics: American composer Alvin Lucier was well-known for his experimental works that tested the boundaries of music and art. A longtime professor at Wesleyan University (before retiring in 2011), Alvin passed away in 2021 at the age of 90. However, that wasn't the end of his lifelong musical odyssey. Earlier this month, at the Art Gallery of Western Australia, a new art installation titled Revivification used Lucier's "brain matter" -- hooked up to an electrode mesh connected to twenty large brass plates -- to create electrical signals that triggered a mallet to strike the varying plates, creating a kind of post-mortem musical piece. Conceptualized in collaboration with Lucier himself before his death, the artists solicited the help of researchers from Harvard Medical School, who grew a mini-brain from Lucier's white blood cells. The team created stem cells from these white blood cells, and due to their pluripotency, the cells developed into cerebral organoids somewhat similar to developing human brains. "At a time when generative AI is calling into question human agency, this project explores the challenges of locating creativity and artistic originality," the team behind Revivification told The Art Newspaper. "Revivification is an attempt to shine light on the sometimes dark possibilities of extending a person's presence beyond the seemed finality of death."

"The central question we want people to ask is: could there be a filament of memory that persists through this biological transformation? Can Lucier's creative essence persist beyond his death?" the team said.

In a recent interview with Wired, Nobel laureate Venkatraman Ramakrishnan discusses his book Why We Die, in which he argues that death is not genetically programmed but rather a consequence of evolution favoring reproduction over longevity. Here are some of the most thought-provoking excerpts: WIRED: Professor Ramakrishnan, the crucial question in your book is why we die. But exactly what is death?
Venki Ramakrishnan: By death, we mean the irreversible loss of the ability to function as a coherent individual. It is the result of the failure of a critical system or apparatus, for example, heart, brain, lung, or kidney failure. In this sense there is an apparent paradox: When our organism, as a whole, is alive, millions of cells within us are constantly dying, and we do not even realize it. On the other hand, at the time of death, most of the cells in our bodies are still alive, and entire organs are still functioning and can be donated to people in need of transplantation. But at that point the body has lost the ability to function as a whole. In this sense, it is therefore important to distinguish between cell death and death of the individual.

Speaking of death and aging, you say in your most recent book that you "wanted to offer an objective look at our current understanding of the two phenomena." What was the biggest surprise or most deeply held belief that you had to reconsider while writing and researching this work?
There have been several surprises, actually. One is that death, contrary to what one might think, is not programmed by our genes. Evolution does not care how long we live, but merely selects the ability to pass on our genes, a process known as "fitness" in evolutionary biology. Thus, the traits that are selected are those that help us survive childhood and reproduce. And it is these traits, later in life, that cause aging and decline. Another curious finding was the fact that aging is not simply due to wear and tear on cells. Wear and tear happens constantly in all living things, yet different species have very different lifespans. Instead, lifespan is the result of a balance between the expenditure of resources needed to keep the organism functioning and repairing it and those needed to make it grow, mature, and keep it healthy until it reproduces and nurtures offspring.

Do you think there is an aspect of the biology of aging that is still deeply misunderstood by the general public?
Certainly the indefinite extension of life. Although in principle there are no laws or constraints that prevent us from living much longer than we do currently, great longevity or "eternal youth" are still far off, and very significant obstacles to increasing our maximum life expectancy remain. We must also beware of the pseudoscience -- and business -- around the concepts of "anti-aging" or the "reversal of aging." These are often baseless concepts, unsupported by hard evidence, even though they may use language that sounds scientific. Unfortunately, we are all afraid of growing old and dying, so we are very sensitive to any claim that promises to help us avoid it. [...]

What do you think are the social and ethical implications of our desire to live longer?
Ever since we became aware of our mortality, we have desired to defeat aging and death. However, our individual desires may conflict with what is best for society. A society in which fertility rates are very low and lifespans are very high will be a stagnant society, with very slow generational turnover, and probably much less dynamic and creative. The Nobel Prize-winning South American novelist Mario Vargas Llosa, who recently passed away, expressed it best: "Old age on the one hand terrifies us, but when we feel anxious, it is important to remember how terrible it would be to live forever. If eternity were guaranteed, all the incentives and illusions of life would vanish. This thought can help us live old age in a better way."

Publishers and law professors have filed amicus briefs supporting authors who sued Meta over its AI training practices, arguing that the company's use of "thousands of pirated books" fails to qualify as fair use under copyright law.

The filings [PDF] in California's Northern District federal court came from copyright law professors, the International Association of Scientific, Technical and Medical Publishers (STM), Copyright Alliance, and Association of American Publishers. The briefs counter earlier support for Meta from the Electronic Frontier Foundation and IP professors.

While Meta's defenders pointed to the 2015 Google Books ruling as precedent, the copyright professors distinguished Meta's use, arguing Google Books told users something "about" books without "exploiting expressive elements," whereas AI models leverage the books' creative content.

"Meta's use wasn't transformative because, like the AI models, the plaintiffs' works also increased 'knowledge and skill,'" the professors wrote, warning of a "cascading effect" if Meta prevails. STM is specifically challenging Meta's data sources: "While Meta attempts to label them 'publicly available datasets,' they are only 'publicly available' because those perpetuating their existence are breaking the law."