Michaela Zee reports via Variety: More than 15 years after his death, stand-up comedian George Carlin has been brought back to life in an artificial intelligence-generated special called "George Carlin: I'm Glad I'm Dead." The hour-long special, which dropped on Tuesday, comes from Dudesy, a comedy AI that hosts a podcast and YouTube show with "Mad TV" alum Will Sasso and podcaster Chad Kultgen.

"I just want to let you know very clearly that what you're about to hear is not George Carlin. It's my impersonation of George Carlin that I developed in the exact same way a human impressionist would," Dudesy said at the beginning of the special. "I listened to all of George Carlin's material and did my best to imitate his voice, cadence and attitude as well as the subject matter I think would have interested him today. So think of it like Andy Kaufman impersonating Elvis or like Will Ferrell impersonating George W. Bush."

In the stand-up special, the AI-generated impression of Carlin, who died in 2008 of heart failure, tackled prevalent topics like mass shootings, the American class system, streaming services, social media and AI itself. "There's one line of work that is most threatened by AI -- one job that is most likely to be completely erased because of artificial intelligence: stand-up comedy," AI-generated Carlin said. "I know what all the stand-up comics across the globe are saying right now: "I'm an artist and my art form is too creative, too nuanced, too subtle to be replicated by a machine. No computer program can tell a fart joke as good as me.'" Kelly Carlin, the late stand-up comedian's daughter, posted a statement in response to the special: "My dad spent a lifetime perfecting his craft from his very human life, brain and imagination. No machine will ever replace his genius. These AI generated products are clever attempts at trying to recreate a mind that will never exist again. Let's let the artist's work speak for itself. Humans are so afraid of the void that we can't let what has fallen into it stay there.

Here's an idea, how about we give some actual living human comedians a listen to? But if you want to listen to the genuine George Carlin, he has 14 specials that you can find anywhere."

Kirkman14 writes: Josh Renaud of breakintochat.com has recovered two early examples of "artificial creativity" software for the Commodore Amiga that generate new music by recombining patterns extracted from existing music. Developed by cartoonist Ya'akov Kirschen and his Israeli software firm LKP Ltd. in 1986-87, "Computer Composer" demo and "Magic Harp" baroque were early attempts at AI-like autonomous music generation.

Kirschen's technology was used to help score a BBC TV documentary in 1988, and was covered by the New York Times and other major newspapers. None of the Amiga software was ever sold, though the technology was ported to PC and published under the name "The Music Creator" in 1989.

The global music industry surpassed 4 trillion streams in 2023, a new single-year record, Luminate's 2023 Year-End Report found. Global streams were also up 34% from last year, reflective of an increasingly international music marketplace. From a report: Stateside, three genres saw the biggest growth in 2023: country (23.7%), Latin (which encompasses all Latin musical genres, up 24.1%) and world (a catchall that includes J-pop, K-pop and Afrobeats, up 26.2%.) It seems that more Americans are listening to non-English music. By the end of 2023, Luminate found that Spanish-language music's share of the top 10,000 songs streamed in the U.S. grew 3.8%, and English-language music's share dropped 3.8%.

An anonymous reader quotes a report from Variety: SAG-AFTRA signed a deal on Tuesday with an AI voiceover studio that sets terms for the use of artificial intelligence in video games. The union announced the deal with Replica Studios on Tuesday at CES in Las Vegas. Duncan Crabtree-Ireland, the union's executive director, said that the terms include informed consent for the use of AI to create digital voice replicas, as well as requirements for the safe storage of digital assets. At a press conference, Crabtree-Ireland said the union wants to channel emerging technology to benefit performers -- rather than trying to stand in the way. "These are the kind of terms that producers can agree to without disrupting their ability to make content," Crabtree-Ireland said. "This is an evolutionary step forward. AI technology is not something we can block. It's not something we can stop. That's not a tactic or a strategy that's ever worked for labor in the past."

AI was a major issue in the 2023 SAG-AFTRA strike. The union ultimately reached a deal with the major studios -- represented by the Alliance of Motion Picture and Television Producers -- that established consent and compensation requirements for the use of AI to replicate actors' likenesses. The deal did not block studios from training AI systems to create "synthetic" actors that bear no resemblance to real performers. SAG-AFTRA is now engaged in a similar negotiation with a coalition of major video game studios. The union has obtained a strike authorization vote, though talks continue. Crabtree-Ireland said that agreement with Replica Studios could help spur those discussions.

Replica Studios launched its AI platform in 2019. The company sells AI voices to video game developers from its library of "ethically licensed" voices. Last year, the company announced a new iteration of "Smart NPCs" -- non-playable characters -- that could use OpenAI or other language models to interact with video game players. Crabtree-Ireland said the agreement will open up new employment opportunities for voiceover performers who want to license their voices for use in video games. The deal pertains only to "digital replicas" -- using AI to re-create the voice of a real performer, living or dead. It does not apply to AI training to create synthetic performances.

Telly, the company giving people free 55-inch 4K TVs as long as they're willing to live with persistent ads on a second screen, is previewing a "Hey Telly" voice assistant that will be based on OpenAI's ChatGPT, at least at first. From a report: Users will interact with it on the TV's second (lower) screen, and the company says it "will come to know and recognize the Telly owner" over time and offer personalized recommendations to users. The company didn't say when the feature will be available. The existing SoundHound-powered voice assistant is limited to more mundane tasks like setting timers, changing picture modes, or answering simple questions. Telly also says other household users can opt to have the chatbot personalized to them, offering the example of a chatbot that knows you're on a vegetarian diet and keeps that in mind when you ask for restaurant recommendations.

home-electro.com shares a report from Engadget: On Sunday night Samsung held its annual First Look event at CES 2024, where the company teased the world's first transparent MicroLED display. While there's still no word on how much it costs or when this tech will find its way into retail devices, Samsung showcased its transparent MicroLED display side-by-side next to transparent OLED and transparent LCD models to really highlight the differences between the tech. Compared to the others, not only was the MicroLED panel significantly brighter, it also featured a completely frameless design and a more transparent glass panel that made it easier to see objects behind it. LG also unveiled a similar piece of tech: the company's "first wireless transparent OLED TV." It's called the OLED T and supports 4K resolution and LG's wireless transmission tech for audio and video.

You can watch a demo of Samsung's transparent microLED screen on YouTube.

"For those who don't appreciate the 'gifts' your cat drags in, this might be a solution from a Swiss start up," writes Slashdot reader maudlins11. Engadget reports: Finding weird pet-related technology is a CES tradition, and this year is no exception. Take Flappie, for example. The Swiss start-up is showing off an AI-powered cat door that automatically locks if your kitty tries to bring in prey it caught from the outside. On the side of the door facing the outside, you'll find a motion sensor and night-vision camera. Flappie says it has compiled a "unique and proprietary" dataset over the years, with a focus on diversity -- this means getting lots of different kinds of cats as well as prey, filmed in a variety of different lighting conditions. The company says that its AI-powered detection system is accurate more than 90 percent of the time, which means your cat could still get a mouse inside. But hopefully that'll happen a lot less frequently.

There are some manual switches on the inside of the door so you can lock and unlock it any time you want as well as turn off the prey-detection system. Eventually, Flappie says that pets are likely to be trained that they can't enter when carrying something, and when they drop the prey the door will promptly unlock so they can get inside. Flappie also included chip detection in its cat door. So if your pet has been microchipped, you can make it so the cat door only opens for your specific pet. And, of course, there's an app so you can control the door from your phone. But if you're not inclined to hook the Flappie door up to the internet, it'll still work via the controls on the door itself. The product is launching in Switzerland and Germany later this spring, with a $399 price tag. Alternatively, you can pay $199 with a two-year $8.90 monthly subscription to save all the videos the door records of your pet.

At CES, LG on Monday unveiled the OLED T, or as the firm describes it, "the first wireless transparent OLED TV," with 4K resolution and LG's wireless transmission tech for audio and video. Engadget: The unit also features a contrast screen that rolls down into a box at its base that you can raise or lower with the press of a bottom. The OLED T is powered by LG's new Alpha 11 AI processor with four times the performance of the previous-gen chip. The extra power offers 70 percent greater graphics performance and 30 percent faster processing speeds, according to the company.

The OLED T model works with the company's Zero Connect Box that debuted on last year's M3 OLED that sends video and audio wirelessly to the TV. You connect all of your streaming devices and game consoles to that box rather than the television. The OLED T's base houses down-firing speakers, which sound surprisingly good, as well as some other components. There are backlights as well, but you can turn those on for a fully-transparent look. LG says the TV will come in standalone, against-the-wall and wall-mounted options. No word on when the TV will go on sale, or how much it would cost.

23 years ago, Slashdot interviewed Chris Montgomery about his team's new Ogg Vorbis audio format.

But Slashdot reader joshuark admits when he first heard the name, it reminded him of the mushroom underworld in The Secret World of Og. I've downloaded videos from the Internet Archive, and one format is the OGG or Ogg Vorbis player format. I just was wondering with other formats, is Ogg still used anymore after approximately 20-years?

I'm not commenting on good/bad/whatever about the format, just is it still in use, relevant anymore?
The nonprofit Xiph.Org Foundation (which develops Orbis Vogg) started work in 2007 on the high-quality/low-delay format Opus, which their FAQ argues "theoretically" makes other lossy codecs obsolete. "From technical point of view (loss, delay, bitrates...) it can replace both Vorbis and Speex, and the common proprietary codecs too."

But elsewhere Xiph.org points out that "The bitstream format for Vorbis I was frozen Monday, May 8th 2000. All bitstreams encoded since will remain compatible with all future releases of Vorbis." So how is that playing out in 2024? Share your own thoughts in the comments.

Does anyone still use Ogg Vorbis format?

Elvis Presley "will be stepping into his blue suede shoes once again..." according to an article in TheStreet, "thanks to the power of artificial intelligence." The legendary singer from Tupelo, Mississippi, is set to thrill audiences in "Elvis Evolution," an "immersive concert experience" that uses AI and holographic projection. The show will debut in London in November. But if you can't make it to England, that's all right, mama, that's all right for you, because additional shows are slated for Berlin, Tokyo and Las Vegas, where Presley had a seven-year residency from 1969 to 1976.

"Man, I really like Vegas," he once reportedly said. The British immersive entertainment company Layered Reality partnered with Authentic Brands Group, which owns the rights to Elvis' image, to create the event.

"The show peaks with a concert experience that will recreate the seismic impact of seeing Elvis live for a whole new generation of fans, blurring the lines between reality and fantasy," Layered Reality said on its website. "A life-sized digital Elvis will share his most iconic songs and moves for the very first time on a UK stage." The company previously made immersive experiences based on the Gunpowder Plot of 1605 and "The War of The Worlds."

Once a dominant force in music discovery, Spotify's famed playlists like RapCaviar, which significantly influenced mainstream music and artist visibility, are losing ground. As the music industry shifts towards algorithmic suggestions and TikTok emerges as a major music promoter, Spotify's strategy evolves with more automated music discovery and less emphasis on human-curated playlists, signaling a potential end to the era where a few key playlists could make a star overnight. Bloomberg reports: Enter TikTok. In the late 2010s, as the algorithmic controlled, short-form video app emerged as a growing force in music promotion, Spotify took notice. On an earnings call in 2020, Spotify Chief Executive Officer Daniel Ek noted that users were increasingly opting for algorithmic suggestions and that Spotify would be leaning into the trend. "As we're getting better and better at personalization, we're serving better and better content and more and more of our users are choosing that," he said. From there, Spotify began implementing a number of changes that over time significantly altered the fundamental dynamics of how playlists get composed. Among other things, the company had already introduced a standardized pitching form that all artists and managers must use to submit tracks for playlist consideration. One former employee says the tool was created to foster a more merit-based system with a greater emphasis on data -- and less focus on the taste of individual curators. The goal, in part, was to give independent and smaller artists without the resources to personally court key playlist editors a better chance at placements. It was also a way to better protect the public-facing editors who in the early days were sometimes subjected to harassment from people disgruntled over their musical choices.

As the automated submission system took hold, the editors gradually grew more anonymous and less associated with particular playlists. In a handbook for the editorial team, Spotify instructed curators not to claim ownership of any one playlist. At the same time, Spotify began introducing multiple splashy features meant to encourage algorithm-driven listening, including an AI DJ and Daylist, two features that constantly change to fit listeners' habits and interests. (Spotify says "human expertise" guides the AI DJ.) Last year, Spotify laid off members of the teams involved in making playlists as part of its various cuts. And over time, the shift in emphasis has had consequences outside the company as well. These days, the same music industry sources who in the late 2010s learned to obsess over what was included and excluded from key Spotify playlists have started noticing something else -- it no longer seems to matter as much. Employees at different major labels say they've seen streams coming from RapCaviar drop anywhere from 30% to 50%.

The trend towards automated music discovery at Spotify shows no sign of slowing down. One internal presentation titled "Recapturing the Zeitgeist" encourages editorial curators to better utilize data. According to the people who have seen the plan, in addition to putting together a playlist, editorial curators would tag songs to help the algorithm accurately place them on relevant playlists that are automatically personalized for individual subscribers. The company has also shifted some human-curated playlists to personalized versions, including selections with seven-figure followings, like Housewerk and Indie Pop. These days, Spotify is also promoting something called Discovery Mode, wherein labels and artist teams can submit songs for additional algorithm pushes in exchange for a lower royalty rate. These tracks can only surface on personalized listening sessions, a former employee said, meaning Spotify would have a financial incentive to push people to them over editorially curated playlists. (For now, Discovery Mode songs only surface in radio or autoplay listening sessions.) The shift toward algorithmic distribution isn't necessarily a bad thing, says Dan Smith, US general manager at Armada, an independent dance label. "The way fans discovered new music was radio back in the day, then Spotify editorial playlists, then there were a few years where people only discovered new music through TikTok," Brad said. "All those things still work ... we're all just trying different ways to make sure songs get to the right people."

According to MoffettNathanson, the U.S. pay-TV industry had its worst-ever third quarter after losing about 900,000 subscribers. "That poor result, the research firm added, left the total pay-TV industry shrinking at a record pace of -7.3%, widened from a year-ago decline of -5.9%," reports Light Reading. "It also left pay-TV penetration of occupied households (including vMVPDs) at just 54.8% -- a level last seen in 1989, five years before the debut of DirecTV." From the report: Drilling down on Q3 results, traditional pay-TV providers (cable, telco and satellite) shed 1.97 million subscribers, widened from a loss of 1.94 million in the year-ago quarter. Within that category, US cable lost 1.10 million video subs in Q3, versus a loss of -1.09 million in the year-ago period. Satellite operators (Dish Network and DirecTV) lost 667,000 subs in Q3, versus -567,000 in the year-ago quarter. Telco TV providers lost 198,000 video subs in the period, an improvement when compared to a year-ago loss of -250,000 subs.

vMVPDs, meanwhile, added 1.08 million in Q3, down from a year-ago gain of about 1.34 million. Despite those gains, vMVPDs recaptured only 21.7% of traditional pay-TV's subscriber losses in the period, according to MoffettNathanson. Meanwhile, YouTube TV continues to dominate the vMVPD category. MoffettNathanson estimates that YouTube TV added about 350,000 subs in Q3, extending its total to 7 million -- representing 40% of the vMVPD sector's 18 million subscriber total. "Based on our Q3 estimate, YouTube TV has now surpassed Dish Network [6.72 million satellite TV subs at the end of Q3] to become the country's fourth largest MVPD of any kind," Moffett noted. "At the current trajectory, YouTube TV should pass DirecTV for third place in less than a year."

smooth wombat writes: The advent of streaming services heralded a new era of movie watching. No longer tied to an inconvenient time at a theater, movies could now be watched at your convenience any time of the day or night in your own home. However, with that convenience comes a sinister side: those same movies disappearing from streaming services. Once the movie is removed from the streaming service you can't watch it again. As a result, more people, particularly younger people, are buying DVDs, and even records, to preserve their ability to watch and listen to what they want when they want. Before his release of Oppenheimer, Christopher Nolan encouraged fans to embrace "a version you can buy and own at home and put on a shelf so no evil streaming service can come steal it from you". From the BBC article:

Other directors have chimed in to sing the praises of physical media. James Cameron told Variety:"The streamers are denying us any access whatsoever to certain films. And I think people are responding with their natural reaction, which is 'I'm going to buy it, and I'm going to watch it any time I want.'" Guillermo del Toro posted on X that "If you own a great 4K HD, Blu-ray, DVD etc etc of a film or films you love... you are the custodian of those films for generations to come." His tweet prompted people to reply, sharing evidence of their vast DVD collections. [...]

LG touts AI for its 2024 OLED TVs, but don't expect AI assistants onscreen. The Alpha 11 processor in LG's new G4 and M4 series aims to sharpen clarity, color and image quality. The G4 features LG's Micro Lens Array technology for enhanced brightness. The M4 adopts 2023's wireless connectivity to eliminate unsightly cables. The Verge adds: So the AI supposedly now understands creative intent, according to LG, and can adjust your TV's image settings accordingly. Picture purists can always ignore and disable these AI modes, but many people inevitably leave them on -- so if the upgrades are noticeable, they'll be a difference maker for those customers.

Roku, the maker of TV streaming boxes and software, is debuting its first high-end televisions in a bid to continue sales momentum for the company's devices. From a report: In the spring, Roku will roll out 55-inch, 65-inch and 75-inch Pro Series TVs that will cost consumers as much as $1,500. The new televisions put Roku in competition with Samsung and LG, which offer several models in that price range. It's a step up from the company's current TVs -- the Select and Plus -- which top out at $999. [...] The new TVs include a thinner design with a flat back for mounting on walls, improved picture quality and better audio for cinematic sound, the San Jose, California-based company said in a statement.

David Batty reports via The Guardian: [Andrew Scott], best known as Fleabag's "hot priest," has revealed he halted the renowned soliloquy in Shakespeare's play when an audience member took out a laptop to send emails. The actor decided not to suffer the slings and arrows of outrageous theatre etiquette during his run in the 2017 production of Hamlet at London's Almeida theatre, for which he earned an Olivier nomination. Speaking to the Happy Sad Confused film podcast, Scott said there was "no way" he could continue with the speech, and refused to resume until the man put his laptop away.

"When I was playing Hamlet, a guy took out his laptop -- not his phone, his laptop -- while I was in the middle of 'To be or not to fucking be'" said the actor, who said he thought the offending audience member was sending emails. "I was pausing and [the stage team] were like, 'Get on with it' and I was like, 'There's no way.' I stopped for ages." A woman next to the laptop user appeared to alert him to the situation and he finally stopped. "He had absolutely no doubts," added Scott, who was on the podcast to promote his current film All of Us Strangers.

An issue with Sony's projectors caused theater chain Alamo Drafthouse to close theaters entirely on New Year's Eve. "As of New Year's Day, however, most theaters and most showtimes now appear to be available, with a few exceptions," reports The Verge. From the report: It's not clear what happened. As New Year's Day is a holiday, we somewhat understandably haven't yet been able to reach Alamo or Sony spokespeople, and not every theater or every screening was affected. That didn't stop Alamo from blaming its Sony projectors for what at least one theater called a "nationwide" outage, however.

"Due to nation-wide technical difficulties with Sony, we aren't able to play any titles today," read part of a taped paper sign hanging inside a Woodbury, Minnesota location. That apparently didn't keep the customer who took a picture of that sign from watching The Apartment at that very same location, though: "When we went to our seats, the wait staff let us know that despite the fact that the previews were playing, we wouldn't know until the movie actually started whether we could see the film or not. If it didn't work, the screen would just turn black. Luckily, the film went through without a hitch."

What might have only affected some screenings at some theaters? I've seen speculation on Reddit that it may have something to do with expired digital certificates used to unlock encrypted films, but we haven't heard that from Alamo or Sony. We're looking forward to finding out. Longtime Slashdot reader innocent_white_lamb suggests that "[a] cryptographic key used to master all movies distributed by Deluxe" was the culprit after it expired on December 30. "This means that almost all Hollywood movies will no longer play on many commercial cinema servers. In particular, many showings of Wonka and Aquaman had to be cancelled due to the expired encryption key." From their submitted story: Deluxe and the movie companies have been frantically trying to remaster and send out revised versions of current movies over the past few days. Nobody knows what will happen to older movie titles since everything mastered by Deluxe since 2011 may be affected and may need to be remastered if it is to be shown in movie theaters again. There are at least four separate threads discussing this matter on Film-Tech.com, notes innocent_white_lamb.

Vizio has agreed to $3 million settlement over allegations it misled consumers on TV refresh rates. The TV maker denies wrongdoing but will cease advertising on "effective" refresh rates. Eligible buyers have until March 2024 to file claims and submit proof of purchase. Settlement includes enhanced one-year warranties. The Verge adds: TV makers often use marketing terms like "effective refresh rate" to refer to motion smoothing features, often called the "soap opera effect," that are intended to reduce motion blur on modern TVs. Motion smoothing is already controversial enough on its own, but companies like Vizio can be frustratingly casual with refresh rate terminology in their marketing.

Forbes writes: "I am not sure there could have been a more ignominious end to the DCEU." Aquaman 2 opened with $27.7 million domestically, well under half the $67.8 million opening for the original Aquaman. But it's the overall box office totals that are especially dire, as the film has made just over $138.5 million worldwide. That is about 12% of Aquaman 1's final total of $1.1 billion in 2018, where it is the DCEU's highest grossing entry.

The counter to this is that it perhaps is too soon to run these numbers, as it just came out right? Well, a few extra factors to consider. It is already out in a ton of major markets, so there are relatively few potential surges that can still happen outside places like Korea and New Zealand, which can only add so much. Most importantly Aquaman 2 has already launched in China, where it made $30 million in its opening, again, far below the original's opening at $93 million there, doing even worse there than domestically, in context. Aquaman 1 went on to make $292 million in China, a figure Aquaman 2 will not come within a mile of. Next, what DC, and many blockbusters, have been doing lately are these incredibly short theatrical windows, so the clock is ticking quickly...

Of course this is not exclusive to DC, as we have an extremely direct comparison over at Marvel with The Marvels, which at a $205.6 million global gross, the final figure, that is 18% of Captain Marvel's $1.13 billion total. Aquaman 2 has the advantage of being a true sequel, not a team-up piece from other TV shows you theoretically needed to watch beforehand, but it also has the disadvantage of being the last dying gasp of the DCEU coming after a string of other high profile box office failures from Shazam 2 to Blue Beetle.

There was really no way it was going to avoid its fate, even if it did review well (which it didn't, as at 35% on Rotten Tomatoes, it's one of the DCEU's lowest rated films).

What would happen if we built a concert venue in near-Earth orbit? A science policy journalist explores the question in the Washington Post: Forget U2 in the Las Vegas Sphere. Take me to a real concert in the round, where I can float 360 degrees around the stage, watching a guitarist shred from the perspective of a fly and inventing dance moves that Earth's gravity would forbid.

Before you dismiss this as a hallucination, consider that we're on the cusp of a new era of space travel. Engineer and space architect Ariel Ekblaw, founder of MIT's Space Exploration Initiative, says that within a decade, a trip off the planet could become as accessible as a first-class airline ticket — and that, in 15 or 20 years, we can expect space hotels in near-Earth orbit. She's betting on it, having founded a nonprofit to design spherical, modular habitats that can assemble themselves in space so as to be lightweight and compact at launch, much like the James Webb Space Telescope that NASA vaulted into deep space two years ago.

"The first era of space travel was about survival," she told me as I recently toured her lab. "We're transitioning now to build spaces that are friendlier and more welcoming so that people can thrive in space as opposed to just survive." There's no reason, Ekblaw said, that a concert hall can't be one of those structures.
The article ultimately calls this "an impulse for space travel I can get behind: curiosity about who we are and what more we can create when we reach beyond Earth. This is the realm of not just scientists and engineers but of all kinds of dreamers. It's a rendition of space exploration that can engage anyone to imagine what's possible."