As the use of data becomes more popular, it results in high demand for Data Scientists. Every day there are new companies offering bootcamps, and Universities curating new courses to meet this demand. However, it can be difficult to choose where to go to get the right content and the best resources. With the world being forced to work from home due to the pandemic, there are a lot of people who are studying remotely. We are becoming more prone to watching lectures from a Zoom call or a video.

In 1970, Lyudmila Terentyevna Aleksandrova lost her right hand. It happened at work, where she was employed by the Russian state. With her hand gone, she fought for a disability allowance that never materialized, batted about by district and regional courts. Eventually, after decades of frustration, she brought the case to the European Court of Human Rights, which ruled in 2007 that there had been a violation in Aleksandrova's right to a fair trial. Pay the money, it told Russia.

Hellblade: Senua's Sacrifice, a dark mythological adventure that follows a young warrior suffering from psychosis, was the big winner at the 2018 Bafta video game awards on Thursday night at Tobacco Dock, London. The game, which was developed in conjunction with psychologists and neuroscientists to ensure its accurate depiction of mental illness, was nominated in nine categories and won for best British game, best performance, artistic achievement, audio achievement and a new category, games beyond entertainment, which celebrates new releases with a political or social message. Accepting the latter prize, psychologist Paul Fletcher, a professor of neuroscience at Cambridge University who worked closely with the game's Cambridge-based developer, Ninja Theory, said: "Mental illness is usually characterised by the fact that it's invisible. Working with Ninja Theory has shown me something valuable: games can aspire to and achieve a remarkable exploration of state of the mind and mental suffering." However, the night's biggest award, best game, also provided its biggest shock.

One of America's greatest living artists sits in a former clog factory in San Francisco. Tim Schafer's videogame career has spanned every platform from the Commodore 64 to the current generation of consoles. Along the way, his extraordinary talents as a writer, puzzle maker, and industry rabble-rouser have consistently pushed the entire medium forward. Grim Fandango and Psychonauts, in particular, are unchallenged classics. His best game, Brütal Legend, stands as an important but little known artistic achievement of the early 21st century.

The fact that developer Double Fine Productions has chosen to remaster the classic 1995 point-and-click adventure Full Throttle isn't in itself remarkable. The LucasArts titles of the mid-1990s are widely loved and celebrated, and we have already seen updates of stablemates Grim Fandango and Day of the Tentacle. What is remarkable is that the strength of the narrative design, silly gags and beautiful vistas hasn't diminished at all. Holding a PS4 controller in front of the new version, it's obvious that the 20-year-old game is 10 times more ambitious than most commercially-made video games today. Not in the action of the game, in which your biker man Ben merely solves increasingly obscure puzzles involving the collection and application of objects to scenery (most memorably illustrated in the classic command "Slam face on bar").

Tim Schafer is smiling and shaking hands with a hovering crowd as I sit down next to him. A college student asks if she can talk with him later about his career. A fan thanks him for his work -- a library of iconic video games that stretches back to the early '90s. He takes the time to respond to each of them, encouraging the student and graciously accepting the fan's gratitude before sitting down to walk me through a demo of Full Throttle Remastered, an HD remake of one of his first games. I ask him if it was strange to revisit a game he created over two decades ago.

The European Union is currently considering the need to redefine the legal status of robots, with a draft report last week suggesting that autonomous bots might, in the future, be granted the status of "electronic persons" -- a legal definition that confers certain "rights and obligations." It sounds like science fiction and that's because it is: any engineer will tell you we're a long way from seeing robot marches for civil rights. For a start, this is only a draft report. It's not actual legislation, and is only a series of recommendations for the EU's law-making body -- they could always ignore it completely. And although parts of the report are a bit odd (Frankenstein's monster, the Greek myth of Pygmalion, and the Golem of Prague are all referenced in the first paragraph alone), at its core it's interested in the rights of people, not the rights of robots.

IBM's artificial intelligence platform Watson will work with doctors in Germany attempting to solve some complex medical cases. It will be based at the Undiagnosed and Rare Diseases Centre at the University Hospital in Marburg. So far, Watson has looked at half a dozen cases, but it is unclear how many it has correctly diagnosed. AI systems are increasingly being used in healthcare, with Google's DeepMind partnering several UK hospitals. The Watson partnership, with private hospital group Rhon-Klinkum AG, will be piloted from the end of the year.

This article was published in partnership with The Marshall Project, a nonprofit news organization covering the US criminal justice system. Sign up for their newsletter, or follow The Marshall Project on Facebook, or Twitter. If African-American motorists--or drivers of any color--deplore being pulled over for a broken taillight only to be socked with more serious charges, they can take heart that the practice should disappear within the next 20 years. Not that racial harmony will be achieved or that a new polymer will make taillights indestructible. Rather, it's that human beings won't be doing the driving.

This fall, the University of Southern California, home to the nation's most highly-regarded video game design program, will host IndieCade, one of the gaming industry's most respected festivals. Celebrating its 10th year, the festival, which drew about 7,000 people in fall 2015, has long called Culver City home. Increasing development in Culver City -- the bulk of IndieCade was held outdoors in a parking lot -- forced festival organizers to relocate. USC, whose professors and students often showcase games at the event, will hold the festival in and around the School of Cinematic Arts Oct. 13-16. The festival's growth mirrors that of the independent game movement, and the 200-plus games at IndieCade often showcase the more experimental and risk-taking side of the industry.