Humans learn from visual inputs at multiple timescales, both rapidly and flexibly acquiring visual knowledge over short periods, and robustly accumulating online learning progress over longer periods. Modeling these powerful learning capabilities is an important problem for computational visual cognitive science, and models that could replicate them would be of substantial utility in real-world computer vision settings. In this work, we establish benchmarks for both real-time and life-long continual visual learning. Our real-time learning benchmark measures a model's ability to match the rapid visual behavior changes of real humans over the course of minutes and hours, given a stream of visual inputs. Our life-long learning benchmark evaluates the performance of models in a purely online learning curriculum obtained directly from child visual experience over the course of years of development.

A precise understanding of why units in an artificial network respond to certain stimuli would constitute a big step towards explainable artificial intelligence. One widely used approach towards this goal is to visualize unit responses via activation maximization. These feature visualizations are purported to provide humans with precise information about the image features that cause a unit to be activated - an advantage over other alternatives like strongly activating dataset samples. If humans indeed gain causal insight from visualizations, this should enable them to predict the effect of an intervention, such as how occluding a certain patch of the image (say, a dog's head) changes a unit's activation. Here, we test this hypothesis by asking humans to decide which of two square occlusions causes a larger change to a unit's activation.Both a large-scale crowdsourced experiment and measurements with experts show that on average the extremely activating feature visualizations by Olah et al. (2017) indeed help humans on this task ($68 \pm 4$% accuracy; baseline performance without any visualizations is $60 \pm 3$%). However, they do not provide any substantial advantage over other visualizations (such as e.g.

Much of the US economy rests on AI's future. On this episode of podcast, cohost Joe Weisenthal breaks down why AI's impact on finance goes beyond billion-dollar investments. If you read any of WIRED's recent AI edition, you know that lots of people are spending lots of time talking about how the technology is revolutionizing pretty much everything--from coding to writing to accounting. You've also probably heard by now, from us or somebody else, that we might very well be in an economic bubble of AI origin, one wherein the billions and billions of dollars being funneled into the industry is creating an untenable economic scenario that could turn catastrophic. Of course, you may also have read that I'm really sick of being asked about AI . I'm still not sick, though, of asking other people about it--especially when they're much smarter about this stuff than I am. Enter Joe Weisenthal, the cohost of Bloomberg's fantastic podcast, and a former coworker of mine. Trust me: As someone who spent a year listening to Joe lose his mind in the office--loudly!--anytime the economy hiccuped, few people think more about our country's, and our planet's, financial circumstances than Joe does. And right now, Joe's concerns aren't strictly about what happens if or when that AI bubble bursts. His worries are more focused on what's going right and wrong with the US economy writ large. For this week's episode of, Joe and I talked about weird market indicators, US competition with China, and whether or not we should all prepare for an AI economic apocalypse. Nice to see you again. We were just talking about how [you] and I worked together--what was that, like nine years ago? I think you were there 2014, 2015, so maybe 10 years ago or something? Yeah, I worked at Bloomberg. I lasted about a year. But Joe, you were there, you were loud, you were proud, you were always very excited about the economy.

Age: Ted started in 1984. And has Ted been talking ever since? I know, and they do the inspirational online talks. Correct, under the slogan "Ideas change everything". She was talking at the Hay festival, in Wales.

HBO's The Last of Us showed viewers in season one that it would lean heavily on the source video games for major plot points and general direction of the season while expanding on the universe, and season two has followed that to the most extreme end possible. Episode two sees Tommy and Maria lead the town of Jackson Hole against a massive wave of Infected, the likes of which we haven't seen in the show (or video games) yet. This was a complete invention for the show, one that gives the episode Game of Thrones vibes, or calls to mind a battle like the siege of Helm's Deep in Lord of the Rings: The Two Towers. It's epic in scale, with the overmatched defenders showing their skill and bravery against overwhelming odds; there is loss and pain but the good guys eventually triumph. That mass-scale battle is paired with the most intimate and brutal violence we've seen in the entire series so far, as Joel's actions finally catch up with him.

The interior of Jeff Bridges's garage, in Santa Barbara, California, has the ramshackle ease of an extravagant dorm room: a tiger-print rug, a potter's wheel, guitars, a rogue toothbrush, taped-up printouts of ideas he finds provocative or perhaps grounding ("Enlightenment is a communal experience"), and piles of books, from Richard Powers's "Bewilderment" to "Who Cares?! A black-and-white portrait of Captain Beefheart, incongruously dressed in a jacket and tie, hangs on a wall near an electric piano. When I arrived, on a recent afternoon, I did not take note of a lava lamp, but its presence didn't feel out of the question. Bridges was wearing rubber slides and a periwinkle-blue cardigan. He excitedly spread out a large furry blanket on a recliner and invited me to sit down: "Your throne, man!" he said. Earlier this month, Bridges released "Slow Magic, 1977-1978," a series of songs he recorded when he was in his late twenties, an emergent movie star, and involved in a regular Wednesday-night jam session with a coterie of musicians and oddballs from the west side of Los Angeles (the jams were organized by Steve Baim, who attended University High School with Bridges; they took place in various beach houses and, occasionally, at the Village, the recording studio where, around the same time, Fleetwood Mac was making "Tusk"). "Slow Magic" is great and also bonkers. On "Kong," Bridges recounts a story line he pitched for a potential "King Kong" sequel (in 1976, Bridges starred as the long-haired primatologist Jack Prescott in a "Kong" remake produced by Dino De Laurentiis); the track features animated narration from the actor Burgess Meredith, and its lyrics are centered on the revelation that Kong is actually a robot. "It's a sad story, but he was just a monkey machine!" Bridges wails in a tottering falsetto. On "Obnoxious," a weirdly tender song about feeling sad and having a stomachache ("I went to the bathroom / And threw up"), there are echoes of Frank Zappa and the Band. What I like most about the record is how social it feels: friends in a room, being dumb, intermittently (even inadvertently) doing something miraculous. "When recording technology kept improving, I said, 'Oh, I don't need anybody!

According to the recently introduced theory of artistic support tools, creativity support tools exert normative influences over artistic production, instantiating a normative ground that shapes both the process and product of artistic expression. We argue that the normative ground of most existing automated writing tools is misaligned with writerly values and identify a potential alternative frame-material writing support-for experimental poetry tools that flexibly support the finding, processing, transforming, and shaping of text(s). Based on this frame, we introduce Phraselette, an artistic material writing support interface that helps experimental poets search for words and phrases. To provide material writing support, Phraselette is designed to counter the dominant mode of automated writing tools, while offering language model affordances in line with writerly values. We further report on an extended expert evaluation involving 10 published poets that indicates support for both our framing of material writing support and for Phraselette itself.

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Slack will soon begin rolling out what it calls "Slack AI" to its customers, featuring smart search, channel recaps, and summaries -- and a number of caveats, too. Slack has been trying to integrate AI into its conversational interface for about a year now, and some of this sounds pretty familiar. Slack was talking about a "Slack GPT" app last spring, with the eventual rollout of a sales-based AI, Einstein GPT, to leverage parent Salesforce's CRM technology. That's part of the message that Slack is reiterating today. Some of what Slack is talking about makes sense.

For a prolific art collector, Nicolai Tangen is remarkably relaxed about the prospect of masterpieces created by robots. The threat of AI-made paintings, impossible to distinguish from human brushstrokes, has sparked soul-searching and paranoia in the art world, but not with Tangen. "Hey, if it creates better art that's fantastic," says the Norwegian philanthropist, art historian and boss of the world's biggest sovereign wealth fund. "If you create something which is even more aesthetically pleasing, what's wrong about that?" Tangen's own gallery, a converted grain silo in the Norwegian seaside resort of Kristiansand, will open later this year to display one of the world's biggest collections of Nordic modernist art. Tangen has amassed more than 5,000 works by 300 artists.