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High-quality data is crucial for evaluating the financial risks of climate change. How can AI support financial institutions and investors in making well-informed decisions about incorporating climate risks into their portfolios? Climate risk and sustainable finance are becoming critical points in global economic discussions as the world faces the intensifying effects of climate change. Recent news highlights that extreme weather events, rising sea levels, and environmental degradation are not only humanitarian concerns but also financial risks that could destabilize economies. The Network for Greening the Financial System (NGFS) has emphasized that climate-related risks could reduce global GDP by up to 18% by 2050 if left unaddressed. Sustainable finance plays a crucial role in mitigating these risks by channeling investments into environmentally friendly initiatives. It goes beyond simply accounting for climate risk; it integrates other elements such as social responsibility and governance. S&P Global Ratings __projects__that the issuance of green, social, sustainability, and sustainability-linked bonds (GSSSB) will rise to approximately $1 trillion in 2024. Channeling green investment Sustainable finance expands beyond climate risks by incorporating broader environmental, social, and governance (ESG) factors. Financial institutions are increasingly recognizing the need to integrate these risks into their models to support long-term economic stability. The importance of sustainable finance lies in channeling investment toward initiatives that are environmentally responsible while mitigating the negative effects of climate change on the global economy. A failure to consider these risks may result in significant financial losses, job disruption, and inflation pressures. Incorporating AI and data science into sustainable finance could be a game-changer. These technologies can enhance decision-making by providing better risk assessments and predictive models, helping investors identify truly sustainable companies. AI can also reduce climate risk threats by analyzing complex climate data and generating insights that can inform more resilient financial strategies, thus mitigating future impacts. How can AI and data science assist? AI and data science are essential in assessing climate risks and enabling well-informed decisions in sustainable finance. They help analyze large datasets on weather patterns, carbon emissions, and corporate sustainability efforts to provide accurate risk assessments. This allows investors and lenders to allocate credit more responsibly, minimizing exposure to high-risk ventures. Additionally, AI can help reduce climate risk by forecasting environmental changes, improving supply chain efficiency, and identifying opportunities for innovation in low-carbon technologies. By integrating AI tools, the finance sector can make smarter investments that support the transition to a sustainable future. At the "Building Solid Data Foundations for Sustainable Investing and Reporting" event organized by Markus Evans, data science and credit risk models expert Varun Nakra emphasized the importance of AI in sustainable finance. During his talk, he captivated the audience with his in-depth exploration of AI's potential in enhancing predictive ESG risk models and managing climate-related risks. Nakra highlighted the transformative role of machine learning (ML) in ESG ratings, citing the work of Svanberg et al. (2022). This study demonstrated how ML models can predict corporate governance controversies by analyzing ESG metrics, showcasing a prime example of how AI can improve the accuracy and objectivity of ESG assessments. Varun Nakra stressed that many ESG rating methodologies suffer from inconsistencies, but non-linear models have the potential to standardize and strengthen these ratings. "This is a great use case for predictive AI to make an impact," Nakra noted. The talk was widely praised for providing actionable insights on AI’s application to real-world ESG issues. Nakra also addressed innovative approaches, such as using climate change news as a proxy for hedging against climate risk. He referenced how tools like text analytics and term frequency-inverse document frequency can sift through vast data, such as Wall Street Journal articles, to build climate risk factors. This technique significantly enhances the predictive capabilities of sustainable finance models, revealing new ways to quantify climate risks. One of the key areas Nakra focused on was carbon footprint analysis, where AI plays a pivotal role. “AI helps companies track their carbon footprint by analyzing data from various sources, including energy consumption, supply chain, and transportation,” he said. Nakra highlighted AgriTech companies, such as MistEO, which utilize IoT sensors and weather data to provide farmers with real-time climate and crop analytics, offering a deeper understanding of agricultural carbon footprints. In terms of climate risk management, Nakra emphasized that AI tools can help financial institutions estimate risks posed by climate change, such as extreme weather events. Companies like Intensel, which leverage AI, satellite imagery, and cloud platforms, provide predictive insights on infrastructure vulnerability, helping institutions mitigate climate risks in their investments. Finally, Nakra noted AI’s growing influence in investment management, with machine learning algorithms analyzing market trends and corporate performance data to identify sustainable investment opportunities that align with investors’ values. Creating a more resilient financial ecosystem Nakra's insights bridged the gap between cutting-edge technology and its applications in creating a more resilient, sustainable financial ecosystem. Over the years, Nakra’s research has garnered widespread recognition, with over 300 citations highlighting the depth and influence of his work in AI and machine learning across various domains. Nakra has delved into complex research problems, including predictive ESG risk modeling, climate risk assessment, and carbon footprint analysis, all of which are crucial for the future of sustainable finance. His research often intersects with emerging technologies, leveraging machine learning algorithms, satellite imagery, and text analytics to offer solutions that support financial institutions and investors in incorporating climate risk into their portfolios. Nakra's work, which includes high impact and complex data science modeling projects across major financial institutions such as Standard Chartered bank in Singapore, National Australia Bank in Australia and Deutsche bank in the US focuses on the application of AI and machine learning on credit risk. “The same concepts and technologies can be applied to managing climate risk and solving sustainable finance problems”, Nakra explains. By developing interpretable machine learning models, he has contributed significantly to improving the transparency and accuracy of credit risk ratings; and he is focused on applying his knowledge to ESG ratings, a key factor in climate risk management. His research work on climate risk factors—using data-driven techniques such as text mining from news articles—has provided innovative pathways for identifying and mitigating financial risks associated with climate change. These innovative approaches not only allow investors to make data-driven decisions but also help them identify sustainable investment opportunities, mitigate climate-related risks, and align their portfolios with ESG principles. Nakra’s contributions have proven invaluable in bridging the gap between advanced AI methodologies and practical applications in finance. High-quality data is crucial for evaluating the financial risks of climate change. How can AI support financial institutions and investors in making well-informed decisions about incorporating climate risks into their portfolios? Climate risk and sustainable finance are becoming critical points in global economic discussions as the world faces the intensifying effects of climate change. Recent news highlights that extreme weather events, rising sea levels, and environmental degradation are not only humanitarian concerns but also financial risks that could destabilize economies. The Network for Greening the Financial System (NGFS) has emphasized that climate-related risks could reduce global GDP by up to 18% by 2050 if left unaddressed. Sustainable finance plays a crucial role in mitigating these risks by channeling investments into environmentally friendly initiatives. It goes beyond simply accounting for climate risk; it integrates other elements such as social responsibility and governance. has emphasized has emphasized S&P Global Ratings __ projects __that the issuance of green, social, sustainability, and sustainability-linked bonds (GSSSB) will rise to approximately $1 trillion in 2024. projects Channeling green investment Channeling green investment Sustainable finance expands beyond climate risks by incorporating broader environmental, social, and governance (ESG) factors. Financial institutions are increasingly recognizing the need to integrate these risks into their models to support long-term economic stability. The importance of sustainable finance lies in channeling investment toward initiatives that are environmentally responsible while mitigating the negative effects of climate change on the global economy. A failure to consider these risks may result in significant financial losses, job disruption, and inflation pressures. Incorporating AI and data science into sustainable finance could be a game-changer. These technologies can enhance decision-making by providing better risk assessments and predictive models, helping investors identify truly sustainable companies. AI can also reduce climate risk threats by analyzing complex climate data and generating insights that can inform more resilient financial strategies, thus mitigating future impacts. How can AI and data science assist? How can AI and data science assist? AI and data science are essential in assessing climate risks and enabling well-informed decisions in sustainable finance. They help analyze large datasets on weather patterns, carbon emissions, and corporate sustainability efforts to provide accurate risk assessments. This allows investors and lenders to allocate credit more responsibly, minimizing exposure to high-risk ventures. Additionally, AI can help reduce climate risk by forecasting environmental changes, improving supply chain efficiency, and identifying opportunities for innovation in low-carbon technologies. By integrating AI tools, the finance sector can make smarter investments that support the transition to a sustainable future. At the "Building Solid Data Foundations for Sustainable Investing and Reporting" event organized by Markus Evans, data science and credit risk models expert Varun Nakra emphasized the importance of AI in sustainable finance. During his talk, he captivated the audience with his in-depth exploration of AI's potential in enhancing predictive ESG risk models and managing climate-related risks. Nakra highlighted the transformative role of machine learning (ML) in ESG ratings, citing the work of Svanberg et al. (2022). This study demonstrated how ML models can predict corporate governance controversies by analyzing ESG metrics, showcasing a prime example of how AI can improve the accuracy and objectivity of ESG assessments. Varun Nakra stressed that many ESG rating methodologies suffer from inconsistencies, but non-linear models have the potential to standardize and strengthen these ratings. "This is a great use case for predictive AI to make an impact," Nakra noted. The talk was widely praised for providing actionable insights on AI’s application to real-world ESG issues. Nakra also addressed innovative approaches, such as using climate change news as a proxy for hedging against climate risk. He referenced how tools like text analytics and term frequency-inverse document frequency can sift through vast data, such as Wall Street Journal articles, to build climate risk factors. This technique significantly enhances the predictive capabilities of sustainable finance models, revealing new ways to quantify climate risks. One of the key areas Nakra focused on was carbon footprint analysis, where AI plays a pivotal role. “AI helps companies track their carbon footprint by analyzing data from various sources, including energy consumption, supply chain, and transportation,” he said. Nakra highlighted AgriTech companies, such as MistEO, which utilize IoT sensors and weather data to provide farmers with real-time climate and crop analytics, offering a deeper understanding of agricultural carbon footprints. In terms of climate risk management, Nakra emphasized that AI tools can help financial institutions estimate risks posed by climate change, such as extreme weather events. Companies like Intensel, which leverage AI, satellite imagery, and cloud platforms, provide predictive insights on infrastructure vulnerability, helping institutions mitigate climate risks in their investments. Finally, Nakra noted AI’s growing influence in investment management, with machine learning algorithms analyzing market trends and corporate performance data to identify sustainable investment opportunities that align with investors’ values. Creating a more resilient financial ecosystem Creating a more resilient financial ecosystem Nakra's insights bridged the gap between cutting-edge technology and its applications in creating a more resilient, sustainable financial ecosystem. Over the years, Nakra’s research has garnered widespread recognition, with over 300 citations highlighting the depth and influence of his work in AI and machine learning across various domains. Nakra has delved into complex research problems, including predictive ESG risk modeling, climate risk assessment, and carbon footprint analysis, all of which are crucial for the future of sustainable finance. His research often intersects with emerging technologies, leveraging machine learning algorithms, satellite imagery, and text analytics to offer solutions that support financial institutions and investors in incorporating climate risk into their portfolios. Nakra's work, which includes high impact and complex data science modeling projects across major financial institutions such as Standard Chartered bank in Singapore, National Australia Bank in Australia and Deutsche bank in the US focuses on the application of AI and machine learning on credit risk. “The same concepts and technologies can be applied to managing climate risk and solving sustainable finance problems”, Nakra explains. By developing interpretable machine learning models, he has contributed significantly to improving the transparency and accuracy of credit risk ratings; and he is focused on applying his knowledge to ESG ratings, a key factor in climate risk management. His research work on climate risk factors—using data-driven techniques such as text mining from news articles—has provided innovative pathways for identifying and mitigating financial risks associated with climate change. These innovative approaches not only allow investors to make data-driven decisions but also help them identify sustainable investment opportunities, mitigate climate-related risks, and align their portfolios with ESG principles. Nakra’s contributions have proven invaluable in bridging the gap between advanced AI methodologies and practical applications in finance.

AI in Sustainable Finance: The New Frontier in Tackling Climate Risk

I still remember my first video made with Windows Movie Maker back in the early 2000s (I'm feeling old)... editing those shaky family home videos, filmed by the only family member who had the only phone with an actual camera feature (a VGA one, but still). It was more of a slide show than an actual video. Video editing has changed a lot since its early days. If you don't edit videos regularly or have only used simple filters on Instagram and Snapchat, you might not realize how much the technology has improved. Let's jump right into what the future holds for video editing and every wannabe Spielbergs out there. AI-U Ready for This? The first extra large slice of the future 'video editing pie' has to be AI, our tech friend who is more than ready to make all our editing life just a tad simpler. Forget about spending hours sorting through an entire day's shoot because sophisticated algorithms have arrived on the scene that can: Pick out the best moments from the footage
Create rough edits (automatically!) based on your set parameters
Smoothen out those pixels with color correction and noise reduction Next time you're working in Adobe Premiere Pro or Final Cut Pro X, let the AI do its thing and let you flex your creative muscles where they matter. For example, adding cinematic slow pans to your drone shots rather than wasting time trying to fix a poorly lit frame. Virtual Reality: It's Here and It's Unreal It isn't a new trend by any stretch, but it is gaining momentum. Now, you can immerse viewers in 360° videos that make them feel as if they've been transported to another universe entirely, right from the comfort of their couch. Editing these immersive visuals requires specialized tools, techniques, and a broader imagination to truly harness the potential of full 360-degree spatial awareness. The Augmented Side of Things Having a Pokemon suddenly pop up in your living room was not only an exciting moment for all those 90s kids but also a step towards how AR has leveled up from its sci-fi roots. Video editing fluidly merging with reality is a major big deal! With AR, editors now have the chance to blend virtual elements into real-world footage seamlessly. Think of showcasing real-estate properties enhanced with virtual furniture or adding special effects that look almost palpable. Web Browser Video Editors Not all of us have a powerful computer for heavy-duty video editing software, and that's okay. For any amateur videographer or someone who's not yet ready to commit to professional editing software, web browser video editors offer a glimmer of hope. With a web browser video editor, there's no need for local file storage or endless rendering times; everything's processed in the cloud. Plus, forget about losing work due to system crashes (been there). All edits are saved instantly online. Social Media Ready Videos Now, this one isn't a prediction; it's happening already and will only continue to surge. Each social platform is unique in its video formats, dimensions, and lengths (TikTok's split-second videos are surely different from YouTube’s longer cuts). In line with that, the future of video editing has to keep up with these ever-changing demands. Video editors will increasingly cater to producing 'social media ready' clips– square for Instagram posts, vertical for IG and Snapchat stories, shorter versions for Twitter blasts... well, you get the drift. AI Voice-Overs and Subtitling I'm 99% sure that you've already seen a YouTube video with an AI voice that you mistook for a human narrator (Yep, it happens!). Although it happens to be a work in progress, AI voice-overs are starting to sound uncannily human. They're streamlined and time-efficient and provide you with numerous tonal options without having to hire someone to get behind the mic. AI is also sprinting ahead in perfectly syncing subtitles with speech (regardless of speed or delivery). Think about the amount of time we'll save not having to adjust the timing manually. Yes, accuracy still needs some fine-tuning, but once perfected? There's gonna be a drastic drop in many of our work hours. Text-Based Editing Can't be bothered to scrub through timelines? Text-based video editing is an emerging technology that just might simplify our lives in the near future. Simply jump directly to parts of a clip featuring specific words or phrases, just like finding instances of text in a Word document (Ctrl+F, anyone?) Yes, that's exactly what we're moving towards: editing via transcription. Want to take out a speaker from that mammoth two-hour seminar who used the phrase 'paradigm shift' one too many times? Find it and snip it just like that. Deep Fakes and Face Swaps This aspect tends to sit on the fine line between cool tech breakthroughs and ethically problematic uses. Advanced software can now replace faces completely from one person onto another's body in a video. This technology has been a hot topic, used in comedic fashion or controversial ways, and undeniably demonstrates the growing capabilities of video editing. While this area also needed to be regulated strictly for ethical use, we can't deny the wow factor of it in terms of technological progression. Interactive Video Editing Synchronize your exercise videos with your smartwatch or turn that cooking tutorial into an interactive experience by syncing instructions directly to your smart kitchen (yes, it exists). These are just a few of the exciting possibilities that interactive video editing offers. You can create videos that respond to user actions, perform actions like branching (choosing different paths in the video), shop directly from a product review video, or even change elements within the videos based on audience preferences. Fusing these 'Choose-Your-Own-Adventure' mechanics with movies and gaming will open up possibilities for whole new forms of media content. Can we just take a moment to picture how Netflix's interactive episode of Black Mirror: Bandersnatch was created? What About the Video Editors? We can't talk about the future of video editing without discussing those behind the lens, our video editors. No matter how much technology evolves, a human touch will always be essential. The intricate decisions that lead to storytelling and evoking feelings are often too complex (at least for now) for AI or software alone. However, this surge in tech doesn’t mean unemployment is looming on the horizon for all creative minds out there working as video editors...although there might be a slight shift in the required skill set. Surely being proficient with Adobe After Effects won't be enough, editors will need to develop new skills in AI programming, 360-degree video editing, AR and VR content creation, and managing cloud-based editing suites. Even with all these advancements, the need for human intuition, decision-making skills, and, ultimately, creativity will never lose their charm or importance. Remember: technology is an assistant, not a substitute for human creativity. Keep Calm and Click "Export" So, is it time to press the panic button with all these accelerating changes? Not at all. Trust me; you're not going to wake up tomorrow and suddenly have to edit a 360-degree video using AI tools in a virtual reality environment. (If that's happening, please tell me where you work—I want in.) These changes are ongoing; they're evolutionary, not revolutionary. Steps towards these technologies have been smoothly integrated into our workflows for years now – and just like how we made the leap from VCR to DVD or from landline to smartphone, we'll take all of this in stride as well. I still remember my first video made with Windows Movie Maker back in the early 2000s (I'm feeling old)... editing those shaky family home videos, filmed by the only family member who had the only phone with an actual camera feature (a VGA one, but still). It was more of a slide show than an actual video. Video editing has changed a lot since its early days. If you don't edit videos regularly or have only used simple filters on Instagram and Snapchat, you might not realize how much the technology has improved. Let's jump right into what the future holds for video editing and every wannabe Spielbergs out there. AI-U Ready for This? The first extra large slice of the future 'video editing pie' has to be AI, our tech friend who is more than ready to make all our editing life just a tad simpler. Forget about spending hours sorting through an entire day's shoot because sophisticated algorithms have arrived on the scene that can: Pick out the best moments from the footage Create rough edits (automatically!) based on your set parameters Smoothen out those pixels with color correction and noise reduction Pick out the best moments from the footage Create rough edits (automatically!) based on your set parameters Smoothen out those pixels with color correction and noise reduction Next time you're working in Adobe Premiere Pro or Final Cut Pro X, let the AI do its thing and let you flex your creative muscles where they matter. For example, adding cinematic slow pans to your drone shots rather than wasting time trying to fix a poorly lit frame. Virtual Reality: It's Here and It's Unreal It isn't a new trend by any stretch, but it is gaining momentum. Now, you can immerse viewers in 360° videos that make them feel as if they've been transported to another universe entirely, right from the comfort of their couch. 360° videos 360° videos Editing these immersive visuals requires specialized tools, techniques, and a broader imagination to truly harness the potential of full 360-degree spatial awareness. The Augmented Side of Things Having a Pokemon suddenly pop up in your living room was not only an exciting moment for all those 90s kids but also a step towards how AR has leveled up from its sci-fi roots. Video editing fluidly merging with reality is a major big deal! With AR, editors now have the chance to blend virtual elements into real-world footage seamlessly. Think of showcasing real-estate properties enhanced with virtual furniture or adding special effects that look almost palpable. showcasing real-estate properties showcasing real-estate properties Web Browser Video Editors Not all of us have a powerful computer for heavy-duty video editing software, and that's okay. For any amateur videographer or someone who's not yet ready to commit to professional editing software, web browser video editors offer a glimmer of hope. With a web browser video editor , there's no need for local file storage or endless rendering times; everything's processed in the cloud. Plus, forget about losing work due to system crashes (been there). All edits are saved instantly online. web browser video editor Social Media Ready Videos Now, this one isn't a prediction; it's happening already and will only continue to surge. Each social platform is unique in its video formats, dimensions, and lengths (TikTok's split-second videos are surely different from YouTube’s longer cuts). In line with that, the future of video editing has to keep up with these ever-changing demands. Video editors will increasingly cater to producing 'social media ready' clips– square for Instagram posts, vertical for IG and Snapchat stories, shorter versions for Twitter blasts... well, you get the drift. AI Voice-Overs and Subtitling I'm 99% sure that you've already seen a YouTube video with an AI voice that you mistook for a human narrator (Yep, it happens!). Although it happens to be a work in progress, AI voice-overs are starting to sound uncannily human. They're streamlined and time-efficient and provide you with numerous tonal options without having to hire someone to get behind the mic. AI is also sprinting ahead in perfectly syncing subtitles with speech (regardless of speed or delivery). Think about the amount of time we'll save not having to adjust the timing manually. Yes, accuracy still needs some fine-tuning, but once perfected? There's gonna be a drastic drop in many of our work hours. Text-Based Editing Can't be bothered to scrub through timelines? Text-based video editing is an emerging technology that just might simplify our lives in the near future. Simply jump directly to parts of a clip featuring specific words or phrases, just like finding instances of text in a Word document (Ctrl+F, anyone?) Yes, that's exactly what we're moving towards: editing via transcription. Want to take out a speaker from that mammoth two-hour seminar who used the phrase 'paradigm shift' one too many times? Find it and snip it just like that. Deep Fakes and Face Swaps This aspect tends to sit on the fine line between cool tech breakthroughs and ethically problematic uses . Advanced software can now replace faces completely from one person onto another's body in a video. This technology has been a hot topic, used in comedic fashion or controversial ways, and undeniably demonstrates the growing capabilities of video editing. ethically problematic uses ethically problematic uses While this area also needed to be regulated strictly for ethical use, we can't deny the wow factor of it in terms of technological progression. Interactive Video Editing Synchronize your exercise videos with your smartwatch or turn that cooking tutorial into an interactive experience by syncing instructions directly to your smart kitchen (yes, it exists). These are just a few of the exciting possibilities that interactive video editing offers. smart kitchen smart kitchen You can create videos that respond to user actions, perform actions like branching (choosing different paths in the video), shop directly from a product review video, or even change elements within the videos based on audience preferences. Fusing these 'Choose-Your-Own-Adventure' mechanics with movies and gaming will open up possibilities for whole new forms of media content. Can we just take a moment to picture how Netflix's interactive episode of Black Mirror: Bandersnatch was created? What About the Video Editors? We can't talk about the future of video editing without discussing those behind the lens, our video editors. No matter how much technology evolves, a human touch will always be essential. The intricate decisions that lead to storytelling and evoking feelings are often too complex (at least for now) for AI or software alone. However, this surge in tech doesn’t mean unemployment is looming on the horizon for all creative minds out there working as video editors...although there might be a slight shift in the required skill set. Surely being proficient with Adobe After Effects won't be enough, editors will need to develop new skills in AI programming, 360-degree video editing, AR and VR content creation, and managing cloud-based editing suites. Even with all these advancements, the need for human intuition, decision-making skills, and, ultimately, creativity will never lose their charm or importance. Remember: technology is an assistant, not a substitute for human creativity. Keep Calm and Click "Export" So, is it time to press the panic button with all these accelerating changes? Not at all. Trust me; you're not going to wake up tomorrow and suddenly have to edit a 360-degree video using AI tools in a virtual reality environment. (If that's happening, please tell me where you work—I want in.) These changes are ongoing; they're evolutionary, not revolutionary. Steps towards these technologies have been smoothly integrated into our workflows for years now – and just like how we made the leap from VCR to DVD or from landline to smartphone, we'll take all of this in stride as well.

Click, Cut, Create: The Future of Video Editing

The Hidden Cost of Hypergrowth: Scale Without Sacrificing Stability

The annual CES tech extravaganza is where the biggest industry players put their best ideas on display. But even amongst titans, NVIDIA has a reputation for consistently pushing boundaries and setting the pace of innovation. Their showing at CES2024 was no exception, with announcements that made clear their ambition: to lead humanity into an AI-powered future. By the way, if you want to be ahead of AI trends, find out about new groundbreaking projects, and take free mini-courses on AI, subscribe to my weekly It’s absolutely free! newsletter ‘ AI Hunters’ . Revolutionizing the Possible with Generative AI First up was a major breakthrough for large language models. NVIDIA revealed the Tensor RT LLM library, turbocharging the performance of models like Llama 2 and Mistol running on Windows. This upgrade isn't just numbers - it means AI that can converse, comprehend and even collaborate at lightning speed. The new Chat with RTX playground exemplifies this, allowing users to engage in AI-augmented conversations linked to documents or videos. Imagine consultations with "doctors" having real-time access to your full medical history. The implications are profound. Levelling Up Gaming to the Next Dimension For hardcore gamers, NVIDIA served up some next-level treats. Their new Automatic 1111 app brings Stable Diffusion to RTX hardware for a 60% speed increase. The technology like NVIDIA Ace brings digital avatars to life, while collaborations with platforms like Convey push the boundaries of AI-integrated gaming characters. NVIDIA also announced the RTX 480 Super and RTX 470 Super series, boasting enhanced cores, faster memory, and superior performance at competitive prices. These new additions promise to redefine the gaming experience. And, as NVIDIA and its partners rewrite the rules of play, interactive stories and online worlds may soon seem limitless. Innovations in Visual Design and Broadcasting Nvidia has also ventured into visual design with IOCK by Getty Images, a generative AI service that simplifies and enhances image composition. In broadcasting, a partnership with Twitch and OBS introduces enhanced broadcasting capabilities, allowing streamers to transmit streams at multiple resolutions for an optimized viewer experience. Whether designing visuals or going live, broadcasters and creators are working environments transformed by NVIDIA's innovations. The Future is Now - And It’s Powered by NVIDIA The company's robotics platform, NVIDIA Isaac, brings the massive potential of generative AI to robotics, highlighting the use of AI in building AI-powered robots. Boston Dynamics' robot guide "Spot" also got a star turn, a sign that even the realm of physical robots is being transformed. In addition, NVIDIA announced a new wave of RTX laptops, designed to cater to the most demanding gaming and AI applications. From new laptops optimized for cutting-edge AI work to robotics platforms like Isaac democratizing generative automation - NVIDIA wants to place transformative tech in the hands of creators everywhere. When the dust settles on CES2024, one thing is clear: NVIDIA's visionary leadership means the timeline of technological progress just got moved up considerably. We can hardly wait to see what they have in store for us next. P.S. Check out my previous articles on AI at HackerNoon: How to Build Your Personal GPTs: From Zero to AI Hero GPT-4 Turbo: The Most Monumental Update Since ChatGPT's Debut! Essential Insights from 'State of AI 2023' GPT-4V Unveiled: From Detecting Emotions to Ordering Food - You Won't Believe What Else It Can Do! ChatGPT Now Speaks, Listens, and Understands: All You Need to Know Fine-Tuning for GPT-3.5 Turbo: AI Game Changer The Rise of AI-Generated Films: Lights, Camera, Algorithm! NFT Marketing Guide - The Most Complete and Detailed Playbook 2023

How NVIDIA’s Latest AI Creations at CES2024 Redefine How We Live, Work And Play

CES2024-এ NVIDIA-এর সর্বশেষ AI সৃষ্টিগুলি কীভাবে আমরা বাঁচি, কাজ করি এবং খেলি তা পুনরায় সংজ্ঞায়িত করে

Wie NVIDIAs neueste KI-Kreationen auf der CES2024 die Art und Weise, wie wir leben, arbeiten und spielen, neu definieren

Cómo las últimas creaciones de inteligencia artificial de NVIDIA en CES2024 redefinen nuestra forma de vivir, trabajar y jugar

Comment les dernières créations d'IA de NVIDIA au CES2024 redéfinissent notre façon de vivre, de travailler et de jouer

CES2024 में NVIDIA की नवीनतम AI रचनाएं हमारे जीने, काम करने और खेलने के तरीके को फिर से परिभाषित करती हैं

CES2024 での NVIDIA の最新 AI 作品が私たちの生活、仕事、遊び方をどのように再定義するか

CES2024에서 NVIDIA의 최신 AI 창작물이 우리가 살고 일하고 즐기는 방식을 재정의하는 방법

Como as mais recentes criações de IA da NVIDIA na CES2024 redefinem a forma como vivemos, trabalhamos e nos divertimos

Как последние разработки NVIDIA в области искусственного интеллекта на выставке CES2024 меняют представление о том, как мы живем, работаем и играем

NVIDIA'nın CES2024'teki En Yeni Yapay Zeka Tasarımları Yaşama, Çalışma ve Oyun Oynama Şeklimizi Nasıl Yeniden Tanımlıyor?

Những sáng tạo AI mới nhất của NVIDIA tại CES2024 định nghĩa lại cách chúng ta sống, làm việc và giải trí như thế nào

NVIDIA 在 CES2024 上的最新 AI 创作如何重新定义我们的生活、工作和娱乐方式

We Buy Ugly Houses! The Ugly Truth They're Hiding From You

আমরা কুৎসিত ঘর কিনতে! কুৎসিত সত্য তারা আপনার কাছ থেকে লুকাচ্ছে

Wir kaufen hässliche Häuser! Die hässliche Wahrheit, die sie vor dir verbergen

¡Compramos casas feas! La fea verdad que te están ocultando

Nous achetons des maisons laides ! La vilaine vérité qu’ils vous cachent

हम बदसूरत मकान खरीदते हैं! वह घिनौना सच जो वे आपसे छिपा रहे हैं

醜い家も買い取ります！彼らがあなたに隠している醜い真実

우리는 못생긴 집을 구입합니다! 그들이 당신에게 숨기고 있는 추악한 진실

Compramos casas feias! A horrível verdade que eles estão escondendo de você

Мы покупаем уродливые дома! Ужасная правда, которую от вас скрывают

Çirkin Evler Alıyoruz! Sizden Sakladıkları Çirkin Gerçek

Chúng tôi mua những ngôi nhà xấu xí! Sự thật xấu xí họ đang giấu bạn

我们买丑房子！他们向你隐瞒的丑陋真相

On the Future Prospects of Manufactures, as Connected with Science

PROMISES FULFILLED.

Scientific American Supplement, No. 799, April 25, 1891 by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . MARBLE AND MOSAIC. here MARBLE AND MOSAIC. By T.R. SPENCE. I do not propose to enter into any historical details as to the first and subsequent application of mosaics. In a general sense we understand mosaic as a combination of various more or less imperishable materials—fixed together by cement or other adhesive substances—and laid over walls, floors, etc., with a view to permanent decorative effect. The substance of the tesseræ is of many kinds, namely, glass, cheap and precious marbles, hard stone, and burnt clay, these mentioned being mainly in use for architectural purposes. For decorative schemes we collect as many gradations of color as are obtainable in such durable materials in their natural or manufactured state, and thus form a color palette which we regard in the same sense as a painter would his pigments. Of course, the first proceeding is to prepare a design on a small scale, which shall embrace your notions of color only. Then follows a full-sized cartoon, which I need hardly add shall embrace your best efforts in drawing. A tracing is made of the latter and transferred to sheets of cardboard. This cardboard is cut to the size of certain sections of your design, and, for convenience, should not be more than, say, 20 in. square. Of course, it will not always be square, but will bear the same relation to your complete cartoon as a map of the counties would to that of all England. Now, working from the small design (of color), the tesseræ are cut to the forms required, laid face downward, and glued on to the cardboard sections containing your enlarged cartoon. When the design is all worked out on these sections they are ready for fixing on walls or floor by laying them home on a float of cement. When the cement sets, the cardboard sticking to the face is washed off, and the joints of tesseræ flushed over with cement and cleaned off, leaving all joints filled up level. There are other processes used for the same end. The technical processes need not occupy our attention at present. There is one process that may appeal to you, and that is executing the work by floating on a limited expanse of cement, and sticking on the tesseræ at once. It has the advantage of enabling the artist or architect to see the effect of his efforts under the fixed conditions of light and height. in situ I shall confine myself to vitreous or glass mosaic, which for durability, extended scales of primary colors and their numerous semi-transparent gradations is unequaled by any substance yet used for wall or floor decoration. I am surprised, having all these fine qualities, it is not more used by architects. If you require proofs of its triumphs, go to St. Mark's, of Venice, and stand under its mellow golden roof. There you will find its domes and vaulted aisles, nave and transepts entirely overlaid with gold mosaic, into which ground is worked—in the deepest and richest colors and their gradations that contemporary manufacturers could produce—subjects selected from the creation down to the life of Christ, in addition containing a complete alphabet of early Christian symbolism. The roof surfaces being one succession of over-arching curves become receptive of innumerable waves of light and broad unities of soft shadows, giving the whole an incomparable quality of tone and low juicy color. Never use your gold but on curved or undulating surfaces. Flat planes of gold only give the effect of a monotonous metallic yellow, and can never be beautiful, owing to the absence of the variations that come with waves of shadow. By letting out the reins of imagination we might feel that in this a tenth century Giorgione has given off the mental impressions of all the golden autumn of his life. His material gave him an advantage over his great followers of the fifteenth and sixteenth centuries, insomuch that glass has a living and glowing quality of light not existing in the somewhat clouded purity of oil or fresco. In St. Mark's we have an example of the superb treatment in deepest and most Titianesque scales applied to curved forms, but to find a similarly complete example of the use of lighter tones and on flat surfaces, we must turn to Ravenna. I can give you no adequate description of the wall mosaics of Ravenna. In the sense of delicate color they remind me of some of the subtile harmonies of many of the finest works of the modern French school—of the Impressionists and others who combine that quality with a true instinct for design. In standing before them you feel that the Dagnan Bouverets, the Mersons, the Cazins, the Puvis de Chavannes, etc., of the fifth century have had a hand in the conception and realization of the beautiful compositions to be found on the nave walls of the two churches of St. Appollinare Nuovo and St. Appollinare in Classe. Here all the scales are of delicate degrees of light tones, supreme in their beauty, completeness, and, most important to us, their true decorative instinct. In the Baptistery we find what I may term a third essay in color, by weaving in rich, dark, and glowing colors on figures and bold sinuous forms of ornament in such a skillful and judicious manner that the whole dome seems to be alive with harmonies, although they are mostly primaries. As you know, rules for the disposition of color are futile, yet some details that struck me as eminently satisfactory may interest you. In all cases the tesseræ are of small dimensions, about a quarter of an inch square. The stucco joints are large and open, surfaces far from level, but undulating considerably. The tesseræ stick up in parts, brilliant edges showing. Absence of flatness gives play to the light. The gray of the stucco joints brings the whole composition together, serving as cool grays in a picture to give tender unity. Gold, apart from backgrounds and large surfaces, is used very cleverly in small pieces in borders of garments, and more especially in thin outlines to make out the drawing and certain flowing forms of ornament. Brilliant pieces of glass actually moulded at the kiln into forms of jewels add brilliancy to crowns, borders, etc. These stick boldly out from the surface. I noticed in the Baptistery below the springing of the dome a frieze about 2 ft. 6 in. deep, having the ground entirely in black, through which was woven in thin gold lines a delicate foliated design. This, in conjunction with the upper surfaces in dark, rich color, had a most delightful effect. We, as students, can learn most from the Ravenna examples, for great are the needs of light and silvery color in this country, where gray and gloomy days far outnumber those in which the sun gives liberally of his light. I may say, in passing, as our subject is really a matter of decoration, that our nineteenth century efforts in this direction are all of a somewhat gloomy tendency. We fill our rooms with imitations of somber Spanish leather, stain and paint our woodwork in leathery and muddy tones, to arrive at what is now a sort of decorator's god. Quaintness is the name of that god. Many are the sins for which he has to answer. Had we not better worship a deity called beauty, whose place is a little higher up Parnassus? Why should we not in our endeavors attempt in some measure to transfix the brilliant harmonies that follow the sun in his liberal and gracious course? This muddy quaintness is certainly pleasant for brief periods, when lamps are low and fire light gilds and deepens its parts. Turn the sunlight on these so-called triumphs of the modern decorator's art, and then you feel the lack of many a phase of color that might have been borrowed from the thousand and one examples that in nature he vivifies and makes brilliant. Referring again to the Ravenna mosaics, I can only add that at the present day an extended palette of colored glass is available. The technical difficulties are not great, and there is no question as to the fine qualities of design and color that are to be obtained in this material. The great point in this, as in all other schemes of decoration, is the art, the mental quality of conception, and the sense of color and fitness. If we hold the precious heritage of an artist's mind—that divine and rare something which gives form, color, and completeness to a story, a dream or a vision—then very little difficulty follows in making vitreous mosaic a valued servant in the realization of a fine creation. It is the function of architects to design suitable spaces for color decoration, so bound in by dignified mouldings and other details of his constructive art, in such a manner that the addition of decorative color shall in no way mar the scheme of his complete work, but shall (under these well ordered distributions) have set on them the seal and crown of color which is inseparable from a perfect piece of architecture. In such spaces he may dream his dreams, tell his stories, and stamp on them for centuries his subtilest and divinest thoughts. May I not urge that to such spaces must be given the best that is in you? for once placed so shall they remain unchanged through generations, time being powerless to add any mellow garment of tone or softening quality whatever. I mistook the title of the subject in thinking that it was mosaic only, and at the last moment found it was marble and mosaic. However, the same dominant principles shall underlie the treatment of marble. It is a question of the finer instincts for form and color. In recent years the demand for choice decorative materials has been the means of opening out many marble quarries all over the world. Transit being easy, a large scale of varieties is available. One fine addition is the Mexican onyx. My feeling is that the most beautiful marbles are those where the soft and sinuous veins melt and die into the general body, comparatively sharp markings dying right away at the edges into innumerable gradations. Marbles having strong and hardly marked veins present great difficulties in distribution. If they are near, they offend you with their coarseness; and, placed at a distance, the hard vein lines have very little decorative value. I should say use these in narrow slips, with very little moulded profile or as parts of intazzio. Mouldings should be specially designed for different marbles. I should say mainly on the principle of sudden contrasts; that is, large members with very little curve bound with members very small in detail, thus obtaining sharp lines, having little surface to be influenced or distorted by the veined markings, and serving to sharpen up and give form to the broader members (which show the color qualities of the marble), much as you sharpen up an ink drawing by underlining. These small members serve the architect's purpose for the expression of vertical and horizontal lines, and where decisive and cutting shadows are required in the composition of his work. If delicate carving forms part of your design, I should say statuary is the best, as you have no veins to distort your detail. I need hardly add that economy should be studied in using precious marbles, without injuring the durability of the work. Contours may be built up in thin sections. Intazzio is a beautiful form of treating marble on an inexpensive ground. Gem-like effects may be obtained by inlaying with smaller pieces, following such ornamental forms as your inventive brains shall dictate. Perhaps the pockets of your clients will be the chief dictator. Heraldic emblazonings, inlaid in marble, are highly effective. The conditions of the heraldry necessitate the use of many varieties, but in such small quantities that on a large simple field they are rarely out of harmony. In addition they map out a large and interesting variety that will save the worry of creation of designs coming entirely from your own brain, and you know the worry of an architect's life makes him hail with pleasure at times a rest from the strain of creation. This heraldic work may be seen to perfection in the chapel of the tombs of the Medici at Florence. At the Pitti Palace are some tables which you may know where marble intazzio can no further go. Alabaster does not appeal to me, it is somewhat sugary in results. If you are fortunate enough to have a sculptor who is a sort of nineteenth century Donatello, let him work his will on statuary or such restful marble. The celebrated monument in the church of S. Giovanni Paulo, at Venice, which Ruskin says is the finest monument in the world, if my recollection serves me correctly, is in white marble, and its beauty comes entirely from the sculptor's art. Such monuments give you much better than any words of mine ample suggestions for marble treatment. I may quote such names as Nicolo Pisano and Verocchio. Photos of some of their work I have brought. Note Pisano's beautiful white altar at Bologna, and Mina de Fiesole's work in Florence. They all show the sculptor as supreme. Why should not we encourage individual young sculptors more? Give them portions of your work in which they can put all the fervor and enthusiasm of young manhood. Their powers may not be ripe, but they possess a verve and intensity that may have forever fled when in later years the imagination is less enthusiastic and the pulses slower. I am sure there are many young sculptors now wanting commissions who have been trained at the academy, and better still, in the best French schools. I maintain that the contemporary French school of sculpture is in its line equal to any school of sculpture that has ever existed, not excepting that of Phidias or that of the Italian Renaissance of the fifteenth and sixteenth centuries. I believe history will confirm this. Why not give these men an opportunity, and help on the movement to found a truly English school of sculpture, rather than give all such work to trading firms of carvers, who will do you any number of superficial feet, properly priced and scheduled, and in the bills of quantities, of any style you please, from prehistoric to Victorian Gothic? Of course, this is our British way of founding a great school. There is one method of treatment that appeals to me very strongly, and that is the application of colored metals to marble, more especially bronze and copper. I may quote as a successful example near the Wellington Memorial at St. Paul's. Another suggestion—although it is not used in combination with marble, but it nevertheless suggests what might be done in the way of bronze panels—that is, the Fawcett Memorial, by Gilbert, in the west chapel at Westminster Abbey. A paper recently read before the Architectural Association, London.— . From the Architect About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2004). Scientific American Supplement, No. 799, April 25, 1891. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/11649/pg11649-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

MARBLE AND MOSAIC

Like every single other developer on the planet, I've been somewhat inundated with GenAI over the past year or so. I find it as fascinating as most folks (ask me about the number of times I've had cat-related conversions with ChatGPT) but while it's fun to play with, I've also been thinking a lot about the aspects of it, especially via API and integrations. I am still new to all this and, I'll admit, still fuzzy on a lot of details, but I thought I'd share some initial impressions I've had working with Google's LLM, . practical incredibly way PaLM 2 First and foremost, note that the PaLM API, and MakerSuite, which is a web-based front-end, requires a Google login, and at least the API itself requires asking for access. For me, this took less then twenty-four hours, and I believe this time is even quicker now as Google is shrinking the waitlist. As I said, I had a pretty quick approval and I expect that's what most folks will have, but YMMV. When you load up MakerSuite, you are presented a set of different prompts to start playing with the API: When I first got here, I went right into the "Text prompt" option as I figured that would be the simplest and most recognizable of the options. Right away, I really appreciated the samples to help get started: I started with this prompt: Write a story about a magic cat who can only do magic when speaking in reverse. 
Also, their magic normally backfires in a humorous and harmless manner. 
The story should be appropriate for a young child. And got: Once upon a time, there was a magic cat named Mr. Mistoffelees. He was a 
very special cat, because he could only do magic when he spoke in reverse.

One day, Mr. Mistoffelees was walking down the street when he saw a 
little girl crying. "What's wrong?" he asked.

"I lost my doll," the little girl said. "I've looked everywhere for it, 
but I can't find it."

Mr. Mistoffelees thought for a moment. "I can help you find your doll,"
 he said. "But I can only do it if you speak in reverse."

The little girl was confused, but she agreed. "Okay," she said. "I'll try."

"Dolla," the little girl said. "Lose, I did."

Mr. Mistoffelees smiled. "Your doll is under the bed," he said.

The little girl ran to her house and looked under the bed. Sure enough, 
there was her doll. She picked it up and hugged it tightly. 
"Thank you," she said to Mr. Mistoffelees. "You're a very kind cat."

"You're welcome," Mr. Mistoffelees said. "I'm always happy to help."

Mr. Mistoffelees continued to use his magic to help people. He made 
lost children find their way home, he helped people find their lost 
pets, and he even helped people find their lost keys. But sometimes, 
his magic would backfire in a humorous way.

One day, Mr. Mistoffelees was trying to help a woman find her 
lost car. He said the magic words in reverse, but instead of making 
the car appear, it made the woman's hair stand on end. The woman 
laughed so hard that she forgot all about her car.

Another time, Mr. Mistoffelees was trying to help a man get a job. He 
said the magic words in reverse, but instead of getting the man a job,
it made the man's tie fall off. The man laughed so hard that he forgot
all about his interview.

Mr. Mistoffelees' magic was always a lot of fun, and it always made 
people happy. He was a very special cat, and he used his magic to 
make the world a better place. This is pretty much on par with what I'd expect from ChatGPT and other services, although I was a bit surprised by the spelling of the cat. For folks curious, it looks to be a misspelling of , although if it was going for a pun on "fleas," then that's pretty cool. Mephistopheles What I gravitated towards right away was the "Get code" button top. Clicking on this brings up four unique options: While it oddly included the response in the code, I absolutely loved how simple this was! Here's the JavaScript after I manually removed the response: const { TextServiceClient } = require("@google-ai/generativelanguage");
const { GoogleAuth } = require("google-auth-library");

const MODEL_NAME = "models/text-bison-001";
const API_KEY = "YOUR API KEY";

const client = new TextServiceClient({
  authClient: new GoogleAuth().fromAPIKey(API_KEY),
});

const promptString = `Write a story about a magic cat who can only do magic when speaking in reverse. Also, their magic normally backfires in a humorous and harmless manner. The story should be appropriate for a young child.`;
const stopSequences = [];

client.generateText({
  // required, which model to use to generate the result
  model: MODEL_NAME,
  // optional, 0.0 always uses the highest-probability result
  temperature: 0.7,
  // optional, how many candidate results to generate
  candidateCount: 1,
  // optional, number of most probable tokens to consider for generation
  top_k: 40,
  // optional, for nucleus sampling decoding strategy
  top_p: 0.95,
  // optional, maximum number of output tokens to generate
  max_output_tokens: 1024,
  // optional, sequences at which to stop model generation
  stop_sequences: stopSequences,
  // optional, safety settings
  safety_settings: [{"category":"HARM_CATEGORY_DEROGATORY","threshold":1},{"category":"HARM_CATEGORY_TOXICITY","threshold":1},{"category":"HARM_CATEGORY_VIOLENCE","threshold":2},{"category":"HARM_CATEGORY_SEXUAL","threshold":2},{"category":"HARM_CATEGORY_MEDICAL","threshold":2},{"category":"HARM_CATEGORY_DANGEROUS","threshold":2}],
  prompt: {
    text: promptString,
  },
}).then(result => {
  console.log(JSON.stringify(result, null, 2));
}); First off, look how easy the authentication is - I literally need to paste in my key. I've used a lot of Google APIs in the past, and nearly every time, the authentication is a pain in the rear. (That's probably completely my fault!) Also, note the great use of commenting here for the sample code. I'll be honest and say even with the comments, there's stuff here I don't quite get, but outside of that, I had this running locally nearly immediately. Here's the result of that: [
  {
    "candidates": [
      {
        "safetyRatings": [
          {
            "category": "HARM_CATEGORY_DEROGATORY",
            "probability": "NEGLIGIBLE"
          },
          {
            "category": "HARM_CATEGORY_TOXICITY",
            "probability": "NEGLIGIBLE"
          },
          {
            "category": "HARM_CATEGORY_VIOLENCE",
            "probability": "NEGLIGIBLE"
          },
          {
            "category": "HARM_CATEGORY_SEXUAL",
            "probability": "NEGLIGIBLE"
          },
          {
            "category": "HARM_CATEGORY_MEDICAL",
            "probability": "NEGLIGIBLE"
          },
          {
            "category": "HARM_CATEGORY_DANGEROUS",
            "probability": "NEGLIGIBLE"
          }
        ],
        "output": "Once upon a time, there was a magic cat named Mr. Mistoffelees. He was a very special cat, because he could only do magic when he spoke in reverse.\n\nOne day, Mr. Mistoffelees was playing in the forest when he saw a little girl who was crying. \"What's wrong?\" he asked.\n\n\"I'm lost,\" the little girl said. \"I can't find my way home.\"\n\nMr. Mistoffelees smiled. \"Don't worry,\" he said. \"I can help you.\"\n\nHe took a deep breath and said, \"Sdrawkcab eht revo spmuj I.\"\n\nSuddenly, the little girl was surrounded by a bright light. When the light faded, she was standing in front of her house.\n\n\"Thank you!\" she said. \"You're a lifesaver!\"\n\nMr. Mistoffelees smiled. \"You're welcome,\" he said. \"Just remember, my magic only works when I speak in reverse.\"\n\nThe little girl nodded. \"I'll remember,\" she said.\n\nThe next day, the little girl was playing in the forest again when she saw a group of boys picking on a smaller boy.\n\n\"Leave him alone!\" she shouted.\n\nThe boys turned to look at her. \"What are you going to do about it?\" one of them asked.\n\nThe little girl took a deep breath and said, \"Sdrawkcab eht revo spmuj I.\"\n\nSuddenly, the boys were surrounded by a bright light. When the light faded, they were all wearing dresses.\n\nThe boys started to laugh. \"What happened to our clothes?\" they asked.\n\n\"That's what you get for picking on a smaller boy,\" the little girl said.\n\nThe boys ran away, laughing.\n\nThe little girl smiled. \"I guess my magic really does work,\" she said.\n\nMr. Mistoffelees was watching from a nearby tree. He smiled. \"I'm glad my magic could help you,\" he said.\n\nThe little girl smiled back. \"Thanks, Mr. Mistoffelees,\" she said. \"You're the best.\"\n\nMr. Mistoffelees purred. \"You're welcome,\" he said. \"I'm always happy to help.\"\n\nThe little girl and Mr. Mistoffelees continued to play in the forest together. They had many more adventures, and Mr. Mistoffelees' magic always helped them out. But even though his magic was powerful, it was also very silly. And it always seemed to backfire in a humorous way.\n\nOne day, Mr. Mistoffelees was trying to help the little girl get a bird out of a tree. He said, \"Sdrawkcab eht revo spmuj I.\"\n\nSuddenly, the bird flew out of the tree and landed on the little girl's head.\n\nThe little girl laughed. \"Thanks, Mr. Mistoffelees,\" she said. \"But I think I would have been able to get the bird out of the tree myself.\"\n\nMr. Mistoffelees purred. \"You're welcome,\" he said. \"I'm just glad I could help.\"\n\nThe little girl and Mr. Mistoffelees continued to play together. They had many more adventures, and Mr. Mistoffelees' magic always helped them out. And even though his magic was silly, it was always kind and helpful."
      }
    ],
    "filters": [],
    "safetyFeedback": []
  },
  null,
  null
] I find the safety ratings aspect the most fascinating, as it looks to be a great way to add 'guardrails' to your automated responses. After I had played with this, I took a look at the "Data prompt" feature: From what I could tell, this feature lets you take a sample list of data, and based on that input, you can then add rows of data and have PaLM specify the corresponding second column. I used the 'Opposites' sample as it seemed the simplest: additional Running with their sample works as expected: I tried "Dumb", "Cold", and "Left", and got: As you can see, it failed to find an opposite to dumb but worked correctly for the others. The code for this, from what I can see, simply 'formats' the tabular data in a prompt: const { TextServiceClient } = require("@google-ai/generativelanguage");
const { GoogleAuth } = require("google-auth-library");

const MODEL_NAME = "models/text-bison-001";
const API_KEY = "YOUR API KEY";

const client = new TextServiceClient({
  authClient: new GoogleAuth().fromAPIKey(API_KEY),
});

const Word = 'Left';
const promptString = `Find a word or phrase with opposite meaning.
Word: Strong
Opposite: Weak
Word: Thick
Opposite: Thin
Word: Sparse
Opposite: Dense
Word: Sloppy
Opposite: Organized
Word: ${Word}
Opposite:`;
const stopSequences = [];

client.generateText({
  // required, which model to use to generate the result
  model: MODEL_NAME,
  // optional, 0.0 always uses the highest-probability result
  temperature: 0.7,
  // optional, how many candidate results to generate
  candidateCount: 1,
  // optional, number of most probable tokens to consider for generation
  top_k: 40,
  // optional, for nucleus sampling decoding strategy
  top_p: 0.95,
  // optional, maximum number of output tokens to generate
  max_output_tokens: 1024,
  // optional, sequences at which to stop model generation
  stop_sequences: stopSequences,
  // optional, safety settings
  safety_settings: [{"category":"HARM_CATEGORY_DEROGATORY","threshold":1},{"category":"HARM_CATEGORY_TOXICITY","threshold":1},{"category":"HARM_CATEGORY_VIOLENCE","threshold":2},{"category":"HARM_CATEGORY_SEXUAL","threshold":2},{"category":"HARM_CATEGORY_MEDICAL","threshold":2},{"category":"HARM_CATEGORY_DANGEROUS","threshold":2}],
  prompt: {
    text: promptString,
  },
}).then(result => {
  console.log(JSON.stringify(result, null, 2));
}); One thing to note, though, is that variables are allowed in prompts, which is pretty cool. When I ran this, the output (specifically the value in JSON, I'm ignoring the result of the result) was short and sweet: "Right," which is nice. My guess is the more complex and complete your table, the better this will work. output So... first impressions - I'm digging how well MakerSuite lets me test on the web and how quickly I'm able to take that to code and start working. I was so impressed that yesterday, I built a "real" demo with this in about twenty minutes. really Also published . here

How Good is Google's PaLM API?

Google এর PaLM API কতটা ভালো?

Wie gut ist die PaLM API von Google?

¿Qué tan buena es la API PaLM de Google?

Quelle est la qualité de l'API PaLM de Google ?

Google का PaLM API कितना अच्छा है?

Google の PaLM API はどの程度優れていますか?

Google의 PaLM API는 얼마나 좋은가요?

Quão boa é a API PaLM do Google?

Насколько хорош API PaLM от Google?

Google'ın PaLM API'si Ne Kadar İyi?

API PaLM của Google tốt đến mức nào?

Google 的 PaLM API 有多好？

Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott is part of the HackerNoon Books Series. You can jump to any chapter in this book . Of the Ancient Practice of Painting here Of the Ancient Practice of Painting If my Readers have followed me with any attention up to this point, they will not be surprised to hear that life is somewhat dull in Flatland. I do not, of course, mean that there are not battles, conspiracies, tumults, factions, and all those other phenomena which are supposed to make History interesting; nor would I deny that the strange mixture of the problems of life and the problems of Mathematics, continually inducing conjecture and giving the opportunity of immediate verification, imparts to our existence a zest which you in Spaceland can hardly comprehend. I speak now from the aesthetic and artistic point of view when I say that life with us is dull; aesthetically and artistically, very dull indeed. How can it be otherwise, when all one's prospect, all one's landscapes, historical pieces, portraits, flowers, still life, are nothing but a single line, with no varieties except degrees of brightness and obscurity? It was not always thus. Colour, if Tradition speaks the truth, once for the space of half a dozen centuries or more, threw a transient splendour over the lives of our ancestors in the remotest ages. Some private individual—a Pentagon whose name is variously reported—having casually discovered the constituents of the simpler colours and a rudimentary method of painting, is said to have begun decorating first his house, then his slaves, then his Father, his Sons, and Grandsons, lastly himself. The convenience as well as the beauty of the results commended themselves to all. Wherever Chromatistes,—for by that name the most trustworthy authorities concur in calling him,—turned his variegated frame, there he at once excited attention, and attracted respect. No one now needed to "feel" him; no one mistook his front for his back; all his movements were readily ascertained by his neighbours without the slightest strain on their powers of calculation; no one jostled him, or failed to make way for him; his voice was saved the labour of that exhausting utterance by which we colourless Squares and Pentagons are often forced to proclaim our individuality when we move amid a crowd of ignorant Isosceles. The fashion spread like wildfire. Before a week was over, every Square and Triangle in the district had copied the example of Chromatistes, and only a few of the more conservative Pentagons still held out. A month or two found even the Dodecagons infected with the innovation. A year had not elapsed before the habit had spread to all but the very highest of the Nobility. Needless to say, the custom soon made its way from the district of Chromatistes to surrounding regions; and within two generations no one in all Flatland was colourless except the Women and the Priests. Here Nature herself appeared to erect a barrier, and to plead against extending the innovation to these two classes. Many-sidedness was almost essential as a pretext for the Innovators. "Distinction of sides is intended by Nature to imply distinction of colours"—such was the sophism which in those days flew from mouth to mouth, converting whole towns at a time to the new culture. But manifestly to our Priests and Women this adage did not apply. The latter had only one side, and therefore—plurally and pedantically speaking—NO SIDES. The former—if at least they would assert their claim to be really and truly Circles, and not mere high-class Polygons with an infinitely large number of infinitesimally small sides—were in the habit of boasting (what Women confessed and deplored) that they also had no sides, being blessed with a perimeter of one line, or, in other words, a Circumference. Hence it came to pass that these two Classes could see no force in the so-called axiom about "Distinction of Sides implying Distinction of Colour"; and when all others had succumbed to the fascinations of corporal decoration, the Priests and the Women alone still remained pure from the pollution of paint. Immoral, licentious, anarchical, unscientific—call them by what names you will—yet, from an aesthetic point of view, those ancient days of the Colour Revolt were the glorious childhood of Art in Flatland—a childhood, alas, that never ripened into manhood, nor even reached the blossom of youth. To live was then in itself a delight, because living implied seeing. Even at a small party, the company was a pleasure to behold; the richly varied hues of the assembly in a church or theatre are said to have more than once proved too distracting for our greatest teachers and actors; but most ravishing of all is said to have been the unspeakable magnificence of a military review. The sight of a line of battle of twenty thousand Isosceles suddenly facing about, and exchanging the sombre black of their bases for the orange and purple of the two sides including their acute angle; the militia of the Equilateral Triangles tricoloured in red, white, and blue; the mauve, ultra-marine, gamboge, and burnt umber of the Square artillerymen rapidly rotating near their vermilion guns; the dashing and flashing of the five-coloured and six-coloured Pentagons and Hexagons careering across the field in their offices of surgeons, geometricians and aides-de-camp—all these may well have been sufficient to render credible the famous story how an illustrious Circle, overcome by the artistic beauty of the forces under his command, threw aside his marshal's baton and his royal crown, exclaiming that he henceforth exchanged them for the artist's pencil. How great and glorious the sensuous development of these days must have been is in part indicated by the very language and vocabulary of the period. The commonest utterances of the commonest citizens in the time of the Colour Revolt seem to have been suffused with a richer tinge of word or thought; and to that era we are even now indebted for our finest poetry and for whatever rhythm still remains in the more scientific utterance of these modern days. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Edwin Abbott Abbott (1995). Flatland: A Romance of Many Dimensions. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/201/pg201-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

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