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That same day, however, two of them - Dragos Tudorache and Brando Benifei - proposed changes that would force companies with generative AI systems to disclose any copyrighted material used to train their models, according to four sources present at the meetings, who requested anonymity due to the sensitivity of the discussions. On April 17, the dozen MEPs involved in drafting the legislation signed an open letter agreeing with some parts of Musk's letter and urged world leaders to hold a summit to find ways to control the development of advanced AI. The runaway popularity of such applications led EU industry chief Thierry Breton and others to call for regulation of ChatGPT-like services.Īn organisation backed by Elon Musk, the billionaire CEO of Tesla Inc (TSLA.O) and Twitter, took it up a notch by issuing a letter warning of existential risk from AI and calling for stricter regulations. Since launching in November, ChatGPT has become the fastest growing app in history, and sparked a flurry of activity from Big Tech competitors and investment in generative AI startups like Anthropic and Midjourney. The speed of their work, though, is also a rare example of consensus in Brussels, which is often criticised for the slow pace of decision-making. The draft bill is not final and lawyers say it will likely take years to come into force. Interviews with four lawmakers and two other sources close to discussions reveal for the first time how over just 11 days this small group of politicians hammered out what could become landmark legislation, reshaping the regulatory landscape for OpenAI and its competitors. That scramble culminated on Thursday with a new draft of the legislation which identified copyright protection as a core piece of the effort to keep AI in check. The bloc's 108-page proposal for the AI Act, published two years earlier, included only one mention of the word "chatbot." References to AI-generated content largely referred to deepfakes: images or audio designed to impersonate human beings.īy mid-April, however, members of European Parliament (MEPs) were racing to update those rules to catch up with an explosion of interest in generative AI, which has provoked awe and anxiety since OpenAI unveiled ChatGPT six months ago. LONDON/STOCKHOLM, April 28 (Reuters) - As recently as February, generative AI did not feature prominently in EU lawmakers' plans for regulating artificial intelligence technologies such as ChatGPT. "Warped records are almost always caused by poor storage, one way or another," Raine says. Let your album dry completely before storing or playing it.Īlthough there may not be a remedy for scratches, another common problem that can hinder the quality of vinyl records is warping-and, thankfully, it's one that can be remedied with care. Be sure not to let the cleaning solution touch the inner label of your record, as this may damage it. Apply the cleaning solution to a micro-fiber towel and gently move in circular movements along the grooves, using light pressure to rub away blemishes. Once you've identified your problem areas, rest your record on a clean, flat, soft, and non-abrasive surface. Then, inspect the record in good lighting, looking for any grease spots, finger prints, and smudges. Use the brush and the cloth to sweep away that first layer of grime, making sure to follow the direction of the grooves. You'll need a cleaning solution specifically designed for vinyl, an anti-static brush, and a micro-fiber cloth. If you think there's a chance that your record is just dirty, not scratched, the first thing to do is give it a good, deep, safe clean-then you can more accurately asses its true condition. If you notice some damage, don't write your album off immediately try to give it a thorough clean first. Even if you think you've spotted a deep scratch, it may not make any difference when the disc is spinning the stylus might power through any damage. Then, of course, actually listen to the record. "If you can feel it, you'll almost certainly be able to hear it," he notes. Next, gently run a clean fingertip over any grooves that look suspicious. In order to assess the condition of your record, Raine says to examine it under a strong light source and look for anything that might cause the stylus to move in a direction it isn't supposed to. "Some would argue that only the third matters, and up to a point, that's true." Raine explains that a deep, visible scratch may not cause any tangible issues sometimes, it's the scratches that aren't noticeable to the naked eye or the touch that wreak havoc on the sound quality of your album. "You can see them, you can feel them, and you can hear them," he says. According to Raine, there are three different ways to do so. One of the big arguments of those who say playing a record at the incorrect speed does not cause any damage is that there have been no scientific studies on this topic and no real proof to show otherwise.How Do You Know If Your Record Is Scratched?īefore you can fix a scratched vinyl record, you'll need to first determine if the collectible is truly scratched. Furthermore, they cite examples of people playing favorite records at the wrong speed for many years, unaware that they have done so, and without any signs of accelerated wear. In fact, they say that records were meant to be played at different speeds, and as long as you are not playing them at ridiculous ones (i.e., more than 100 rpm), then there is no harm in doing so. People from the opposite side of this debate argue that there is no real evidence to show that playing a record at the wrong speed damages it in any way. But even those who advocate this standpoint cannot name any possible harm that can occur while playing a record at a slower speed than expected. They are sure that if you keep doing this, eventually, these grooves will lose their shape and become unreadable. It is because the grooves will be moving faster when they are played back than if they were to play at 33 rpm. Those who believe that it does say that if you play a 33 rpm record at 45 rpm, you are putting more stress on the groove than if you were playing it at the proper speed. The faster a record is playing, the higher the sound coming out of your speakers will become. The slower the turntable is going, the lower the pitch will be. The pitch of the music will be off as well. If you do so, the pace of the music is not the only thing that is affected. What happens when you are playing a record at the wrong speed? You may find it interesting – can you touch the needle on a record player. There was always so much to do, and so many tracks, that I literally had unlimited playspace to learn new tricks on. I remember going to my Xbox 360, logging in, and going straight to the user created content section. Part of the reason why the game never got old was the sheer amount of customization and user ownership over the game that existed within Skate 3. I still pick up and play this game when I’m bored, and that’s, what, six years after I got into the game? I know, it was released in 2010, but I was only eight at the time and for some reason the game was rated 16, I managed to get my hands on it just slightly later at fourteen. It really takes a special set of developers to create such a consumer friendly set of controls that feel just as fun during hour one as they do after hour thirty. It’s so easy to pick up and play that I’ve taught mates and family alike how to do tricks, and it never takes long before they become pro skaters. What could be simpler and yet provide more of a skill ceiling than that? Left trigger controls left hand, and right trigger to control right hand these controls were designed by players, not someone looking to cram as many controls as possible to confuse the player and add to an already expansive pool of moves and tricks. Right stick controls your board and feel, left stick controls direction, and press A to go. Even today, with games such as Rider’s Republic and Tony Hawk’s Pro Skater 1+2 Remake, nothing even comes close to how much fun your character is to control in Skate 3. As a wise person once said, any publicity is good publicity, and Skate 3 really grasps this mantra by the head and creates an incredibly fun game around it.Īs all games go however, the campaign can only be as good as the mechanics themselves. Own The Spot, Team Contests, Photo Shoots, all are completely different ways to earn board sales in this game. There’s so many different ways to progress the campaign that it never gets boring. I still to this day have no idea how your character in Skate 3 sold boards by breaking his back in five different ways, but that’s the magic of Skate 3. You do a Hall Of Meat challenge and break fifteen bones? Boards. You win a street contest? More boards sold. You complete a deathrace? Here’s some boards sold. It’s after passing this incredibly serious skate training that you partner up to begin your board selling career.Įverything you do as part of the Skate 3 campaign sells boards. You learn from Coach Frank, a completely insane PE teacher looking man who can apparently skate as well as shout instructions. At the start of Skate 3 you wake up after gaining amnesia from a failed trick, and you’re instantly back into skate training. Part of the fun was the over the top campaign. Nobody will tell you this was a perfect game, but Skate 3’s imperfections were what made the game so endearing, especially for me, and in future the Skate reboot may be ultra realistic and clean of glitches, but the soul of the last game remains. Ridiculous, unrealistic physics were what made the game so much fun, as we barreled through the Pipe Works, unable to stop but able to flip out of the pipe and into a skate park twenty metres below. Glitches were baked into Skate 3’s DNA, and it was all the better for it. It was fun to glitch jump a mile high off a solid wall by the Super Ultra Mega Park, it was hysterical when we used the massive head cheat code to cause minor head injuries while soaring through Carverton Quarry at 70mph, and it was an incredible sense of achievement as we somehow got onto the top of the shark jump building by using ramps stacked on top of each other. Nobody will ever tell you that Skate 3 was a perfect game. Petrie, although dismissive of de Morgan’s scholarship and field practices, accepted this and he set about using the assemblages he discovered at Naqada to give a sequential structure to this newly identified prehistoric era. It was Petrie’s rival, the Frenchman Jacques De Morgan, who argued that these remains did in fact belong to prehistoric times. Such knives, along with distinctive pottery and other grave goods were so unusual, so ‘wholly un-Egyptian’ (Petrie 1896, 8), in comparison to what was then known that Petrie believed that they belonged to a ‘New Race’ who had invaded Egypt at the end of the Old Kingdom. Pitt-Rivers sent Petrie a drawing of his knife in 1895, which Petrie then included in his excavation report on Naqada alongside the knives he had discovered. The two men subsequently had a chance encounter in the shadow of the Great Pyramid in February 1881 (Burleigh and Clutton Brock 1982) and were certainly in correspondence until the General's death in 1900. Petrie and Pitt-Rivers had been acquainted since at least 1877, when Petrie is known to have presented his research on British earthworks to the Royal Archaeological Institute (see Drower 1985, 25). Petrie came across identical examples of unhafted flint implements in situ amongst the grave assemblages of a vast cemetery at Naqada. At the time of the knife’s purchase its date was unknown, but in 1894 the pioneering archaeologist W.M.F. The caramel-coloured flint portion of the Pitt-Rivers knife is distinctive and is of a type known in the literature as a ‘ripple-flaked knife’. “.the finest examples of such work that are known from any country or age” (Petrie 1896, 50) Of the pieces the General purchased from Chester the flint knife is undoubtedly not only one of the finest pieces, but also one of the most famous ancient Egyptian objects ever to have been in Pitt-Rivers’s collection. He also sought buyers for his other acquisitions and regularly offered material to Pitt-Rivers, as his letters in the Salisbury and Wiltshire Museum demonstrate. Chester (1830–1892) regularly wintered abroad in Egypt where he purchased material for the British Museum, the Ashmolean and the Fitzwilliam Museum. In April 1891 General Pitt-Rivers purchased from the Reverend Greville Chester an ancient Egyptian flint knife set in a decorated ivory handle for 10 pounds. The Pitt Rivers Egyptian flint knife Alice Stevenson, Pitt Rivers Museum |
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