There aren't enough game consoles in the world for our upcoming locked-down holiday. As Nintendo similarly struggles to keep up with demand, the number of people searching iFixit for Switch repair guides has more than tripled since last year. Traffic to our Joy-Con controller repair page started growing dramatically on March 14--the day after President Trump declared a national emergency. It's been surging ever since. At a time when so many of us are turning to games for fun, stress relief, and social connection, it is imperative for our collective sanity that we press every game console into service.

My name is Kris Coratti. Thank you for joining us on this very rainy morning. I'm glad you all made it out. We are going to have a fascinating series of discussion this morning on artificial intelligence. This is the latest in our ongoing event series that we call "Transformers." And our speakers this morning are going to explore the regulatory questions around this technology. They going to look at how AI is reshaping the way we live and work. And they're going to discuss how to make sure this technology is used responsibly in the future. Before we begin, I just want to quickly thank our presenting sponsor for this even, Software.org, And so now I'd like to go ahead and welcome to the stage The Washington Post's Tony Romm and Senators Maria Cantwell and Todd Young. And for those who don't know, Senator Cantwell is a Democrat from Washington State. Both are members of a Senate commerce committee which touches on artificial intelligence and many tech issues that we'll talk about today.

A long-lost portrait of a historic computer – built in 1951 and now the oldest working digital computer in the world – has resurfaced on a cafe bar wall in Manchester. The artist John Yeadon first saw the Witch (the Wolverhampton Instrument for Teaching Computation from Harwell) in 1982 in the Museum of Science and Industry in Birmingham. He was fascinated, even though it had become a sad ghost of its former glory at the cutting edge of computing technology. He tried to capture its character – which he described as a "diabolical contraption, a dusty hunk of electric and mechanical hardware that reminded me of the disturbing 1950's Quatermass science fiction television series" – in a near-lifesize two metre by three metre Portrait of a Dead Witch, which he also intended as a joke about the contemporary craze for computer-generated art. He described it as a portrait rather than a still life: "I think I had some idea that the painting brought the computer back to life, or at least to another life."