The opening screen of Variable State's new video "feature" "Virginia" welcomes players to a small town named Kingdom. It's laid before us as if it were a board game, with little trails leading to a cave or a gas station, a schoolyard or an observatory, all of it presented with the simple cheery look of a brightly filled-in coloring book. Come in, stay awhile and bask in the beauty of small-town life, it seems to say. Press play, however, and things get twisted, and not with the typical things-are-not-what-they-seem subversion. Indeed, the first sign that something is out of the norm comes from the word "feature."

Welcome to Mossberg, a weekly commentary and reviews column on The Verge and Recode by veteran tech journalist Walt Mossberg, executive editor at The Verge and editor at large of Recode. I've been familiar with Siri longer than most people. Way back in 2009 -- two years before Apple incorporated the intelligent digital assistant into the iPhone -- I stood onstage with the inventors of the service while they debuted it at a tech conference I co-produced. At the time, it was just a third-party app on the iPhone App Store. Not long thereafter, Apple bought the company, and the assistant reemerged in 2011 with a splashy introduction as a core feature of the iPhone 4s.

Robot" star Christian Slater has dished out behind-the-scenes details about the show, including his fear that he was not going to appear in the series after Season 1, according to IndieWire. "It was something I was a little concerned about, because I was enjoying playing the part so much," Slater, who plays Mr. Robot in the series, told IndieWire's Michael Schneider in an interview for the Screen Actors Guild?American Federation of Television and Radio Artists. Slater, 47, said that towards the end of "Mr. Robot" Season 1, when it was revealed that Mr. Robot was Eliot's (Rami Malek) deceased father, he feared he would not be called back to work, believing his stint was done. "And it definitely would've been a bummer if that had been it … so when we did the graveyard scene in Episode 9, I didn't know what was going to happen in Episode 10.

Randomly generating quantized beats and melodies is likely to sound the same - if not better - than this, especially with some basic heuristics as far as music theory is concerned. Maybe I've missed something that makes this neat research, but I feel like there has to be some merit to the result, which in this case sadly sucks.

"I wish I could touch you," Theodore says, laying in bed. Until she speaks up, tentatively. "How would you touch me?" It's a famously poignant scene from the movie Her, as the character Theodore is about to make vocal love to an artificial intelligence living in his ear. But according to half a dozen experts I interviewed, ranging from industrial designer Gadi Amit to the usability guru Don Norman, in-ear assistants aren't science fiction. In fact, a notable pile of discreet, wireless earbuds enabling just this idea are coming to market now. Sony recently released its first in-ear assistant, the Xperia Ear. Intel showed off a similar proof-of-concept last year.

Bryan Johnson is the founder and chief executive officer of the neuroprosthesis developer Kernel and the founder of OS Fund and Braintree. Through the past few decades of summer blockbuster movies and Silicon Valley products, artificial intelligence (AI) has become increasingly familiar and sexy, and imbued with a perversely dystopian allure. What's talked about less, and has also been dwarfed in attention and resources, is human intelligence (HI). In its varied forms -- from the mysterious brains of octopuses and the swarm-minds of ants to Go-playing deep learning machines and driverless-car autopilots -- intelligence is the most powerful and precious resource in existence. Our own minds are the most familiar examples of a phenomenon characterized by a great deal of diversity.

It's a Wednesday night in North East London and upstairs at the Vortex Jazz Club the machines are calling the shots. The human spectators are jiggling happily in their seats, and the musicians are undeniably flesh-and-blood, sweating and straining at their instruments. But the music itself is the product of electronic brains -- trained to soak up the music of great artists and strain out new melodies. This is "the first concert consisting almost entirely of music composed by artificial intelligence" says professor Geraint Wiggins of Queen Mary's University at the beginning of the evening. In about a few minutes we'll be listening to Medieval chants, Baroque chorales, and jazz and pop -- all made by artificial intelligence with the help of computer scientists who programmed the evening's "composers."

I need something that I can reproduce paper results and experiment myself with different architectures and tuning, extracting embeddings and that sort of thing. I know of a couple of frameworks such as TF, TF-Learn, TF-Slim, Theano so I'd like suggestions on which ones I should use.

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The neural Turing machine16 (NTM) was the predecessor to the DNC described in this work. It used a similar architecture of neural network controller with read–write access to a memory matrix, but differed in the access mechanism used to interface with the memory. In the NTM, content-based addressing was combined with location-based addressing to allow the network to iterate through memory locations in order of their indices (for example, location n followed by n 1 and so on). This allowed the network to store and retrieve temporal sequences in contiguous blocks of memory. However, there were several drawbacks.