It's a mite soon to start grieving, but scientists now project that life on Earth will probably end in about a billion years. A Monday in February, 1,000,002,025, would be my guess. On that inhospitable day, give or take a few million years, the sun will become so hot that the oceans will boil, Earth's oxygen will disappear, and photosynthesis will cease, as will all living things. We should be so lucky. There's a pretty fair chance that life could be wiped out well before then--say, in early June, 2034, or on a cloudy Sunday in November, 3633. Plenty of people do, as it turns out, and, if you want to know who they are, Dorian Lynskey's "Everything Must Go: The Stories We Tell About the End of the World" (Pantheon) is a good place to start. Lynskey, a British journalist and podcaster, has assembled biological, geological, archeological, literary, and cinematic permutations of existential finales, leaving no stone unturned, be it meteor, comet, or asteroid. If a book, a song, a story, a film, a headline, a title, or a study has "world" and "end" in it, Lynskey has unearthed it.

Fox News Flash top entertainment and celebrity headlines are here. Glenn Close acknowledged the ever-changing landscape of the entertainment industry during a stop in Park City, Utah for the Sundance Film Festival. The Academy Award-nominated actress has been trying to keep her "equilibrium" lately, ahead of celebrating Sundance Institute icon Michelle Satter at a gala fundraiser. "I'm very lucky to have a job," Close told The Hollywood Reporter. "There were so many people impacted in LA already, and then now with the fires. I was astounded at how few jobs there are in our profession. I'm a big reader of history, and unfortunately, I think not enough people in this country understand the history and what we've just gotten ourselves into. "On top of that is [artificial intelligence].

This study presents an iterative adaptive compression model for high-resolution DPX-derived TIFF files used in cinematographic workflows and digital preservation. The model employs SSIM and PSNR metrics to dynamically adjust compression parameters across three configurations (C0, C1, C2), achieving storage reductions up to 83.4 % while maintaining high visual fidelity (SSIM > 0.95). Validation across three diverse productions - black and white classic, soft-palette drama, and complex action film - demonstrated the method's effectiveness in preserving critical visual elements while significantly reducing storage requirements. Professional evaluators reported 90% acceptance rate for the optimal C1 configuration, with artifacts remaining below perceptual threshold in critical areas. Comparative analysis with JPEG2000 and H.265 showed superior quality preservation at equivalent compression rates, particularly for high bit-depth content. While requiring additional computational overhead, the method's storage benefits and quality control capabilities make it suitable for professional workflows, with potential applications in medical imaging and cloud storage optimization.

The film Her features Samantha, a sophisticated AI audio agent who is capable of understanding both linguistic and paralinguistic information in human speech and delivering real-time responses that are natural, informative and sensitive to emotional subtleties. Moving one step toward more sophisticated audio agent from recent advancement in end-to-end (E2E) speech systems, we propose LUCY, a E2E speech model that (1) senses and responds to user's emotion, (2) deliver responses in a succinct and natural style, and (3) use external tool to answer real-time inquiries. Experiment results show that LUCY is better at emotion control than peer models, generating emotional responses based on linguistic emotional instructions and responding to paralinguistic emotional cues. Lucy is also able to generate responses in a more natural style, as judged by external language models, without sacrificing much performance on general question answering. Finally, LUCY can leverage function calls to answer questions that are out of its knowledge scope.

Copyright policies play a pivotal role in protecting the intellectual property of creators and companies in creative industries. The advent of cost-reducing technologies, such as generative AI, in these industries calls for renewed attention to the role of these policies. This paper studies product positioning and competition in a market of creatively differentiated products and the competitive and welfare effects of copyright protection. A common feature of products with creative elements is that their key attributes (e.g., images and text) are unstructured and thus high-dimensional. We focus on a stylized design product, fonts, and use data from the world's largest online marketplace for fonts. We use neural network embeddings to quantify unstructured attributes and measure the visual similarity. We show that this measure closely aligns with actual human perception. Based on this measure, we empirically find that competitions occur locally in the visual characteristics space. We then develop a structural model for supply and demand that integrate the embeddings. Through counterfactual analyses, we find that local copyright protection can enhance consumer welfare when products are relocated, and the interplay between copyright and cost-reducing technologies is essential in determining an optimal policy for social welfare. We believe that the embedding analysis and empirical models introduced in this paper can be applicable to a range of industries where unstructured data captures essential features of products and markets.

Current AI frameworks for brain decoding and encoding, typically train and test models within the same datasets. This limits their utility for brain computer interfaces (BCI) or neurofeedback, for which it would be useful to pool experiences across individuals to better simulate stimuli not sampled during training. A key obstacle to model generalisation is the degree of variability of inter-subject cortical organisation, which makes it difficult to align or compare cortical signals across participants. In this paper we address this through the use of surface vision transformers, which build a generalisable model of cortical functional dynamics, through encoding the topography of cortical networks and their interactions as a moving image across a surface. This is then combined with tri-modal self-supervised contrastive (CLIP) alignment of audio, video, and fMRI modalities to enable the retrieval of visual and auditory stimuli from patterns of cortical activity (and vice-versa). We validate our approach on 7T task-fMRI data from 174 healthy participants engaged in the movie-watching experiment from the Human Connectome Project (HCP). Results show that it is possible to detect which movie clips an individual is watching purely from their brain activity, even for individuals and movies not seen during training. Further analysis of attention maps reveals that our model captures individual patterns of brain activity that reflect semantic and visual systems. This opens the door to future personalised simulations of brain function. Code & pre-trained models will be made available at https://github.com/metrics-lab/sim, processed data for training will be available upon request at https://gin.g-node.org/Sdahan30/sim.

The recent proliferation of short form video social media sites such as TikTok has been effectively utilized for increased visibility, communication, and community connection amongst trans/nonbinary creators online. However, these same platforms have also been exploited by right-wing actors targeting trans/nonbinary people, enabling such anti-trans actors to efficiently spread hate speech and propaganda. Given these divergent groups, what are the differences in network structure between anti-trans and pro-trans communities on TikTok, and to what extent do they amplify the effects of anti-trans content? In this paper, we collect a sample of TikTok videos containing pro and anti-trans content, and develop a taxonomy of trans related sentiment to enable the classification of content on TikTok, and ultimately analyze the reply network structures of pro-trans and anti-trans communities. In order to accomplish this, we worked with hired expert data annotators from the trans/nonbinary community in order to generate a sample of highly accurately labeled data. From this subset, we utilized a novel classification pipeline leveraging Retrieval-Augmented Generation (RAG) with annotated examples and taxonomy definitions to classify content into pro-trans, anti-trans, or neutral categories. We find that incorporating our taxonomy and its logics into our classification engine results in improved ability to differentiate trans related content, and that Results from network analysis indicate many interactions between posters of pro-trans and anti-trans content exist, further demonstrating targeting of trans individuals, and demonstrating the need for better content moderation tools

Knowledge graphs are widely used in industrial applications, making error detection crucial for ensuring the reliability of downstream applications. Existing error detection methods often fail to effectively leverage fine-grained subgraph information and rely solely on fixed graph structures, while also lacking transparency in their decision-making processes, which results in suboptimal detection performance. In this paper, we propose a novel Multi-Agent framework for Knowledge Graph Error Detection (MAKGED) that utilizes multiple large language models (LLMs) in a collaborative setting. By concatenating fine-grained, bidirectional subgraph embeddings with LLM-based query embeddings during training, our framework integrates these representations to produce four specialized agents. These agents utilize subgraph information from different dimensions to engage in multi-round discussions, thereby improving error detection accuracy and ensuring a transparent decision-making process. Extensive experiments on FB15K and WN18RR demonstrate that MAKGED outperforms state-of-the-art methods, enhancing the accuracy and robustness of KG evaluation. For specific industrial scenarios, our framework can facilitate the training of specialized agents using domain-specific knowledge graphs for error detection, which highlights the potential industrial application value of our framework. Our code and datasets are available at https://github.com/kse-ElEvEn/MAKGED.

We consider the problem of estimating causal effects from observational data in the presence of network confounding. In this context, an individual's treatment assignment and outcomes may be affected by their neighbors within the network. We propose a novel matching technique which leverages hyperdimensional computing to model network information and improve predictive performance. We present results of extensive experiments which show that the proposed method outperforms or is competitive with the state-of-the-art methods for causal effect estimation from network data, including advanced computationally demanding deep learning methods. Further, our technique benefits from simplicity and speed, with roughly an order of magnitude lower runtime compared to state-of-the-art methods, while offering similar causal effect estimation error rates.

Music source separation is an audio-to-audio retrieval task of extracting one or more constituent components, or composites thereof, from a musical audio mixture. Each of these constituent components is often referred to as a "stem" in literature. Historically, music source separation has been dominated by a stem-based paradigm, leading to most state-of-the-art systems being either a collection of single-stem extraction models, or a tightly coupled system with a fixed, difficult-to-modify, set of supported stems. Combined with the limited data availability, advances in music source separation have thus been mostly limited to the "VDBO" set of stems: \textit{vocals}, \textit{drum}, \textit{bass}, and the catch-all \textit{others}. Recent work in music source separation has begun to challenge the fixed-stem paradigm, moving towards models able to extract any musical sound as long as this target type of sound could be specified to the model as an additional query input. We generalize this idea to a \textit{query-by-region} source separation system, specifying the target based on the query regardless of how many sound sources or which sound classes are contained within it. To do so, we propose the use of hyperellipsoidal regions as queries to allow for an intuitive yet easily parametrizable approach to specifying both the target (location) as well as its spread. Evaluation of the proposed system on the MoisesDB dataset demonstrated state-of-the-art performance of the proposed system both in terms of signal-to-noise ratios and retrieval metrics.