How AI Addiction Battles Bots Without Hoover Data’s Consent

The landscape of the internet is shifting, moving away from traditional users and towards automated web-browsing bots. A recent report indicates that, for the first time this year, non-human web browsing bots make up the majority of all traffic.

Alarmingly, over half of this bot traffic stems from malicious sources, including those harvesting unsecured personal data online. Yet, there’s a rising trend in bots designed by artificial intelligence companies, aimed at gathering data for model training and responding to user interactions. Notably, OpenAI’s ChatGPT-User accounts for 6% of total web traffic, while Claudebot, created by Anthropic, represents 13%.

AI firms argue that data scraping is crucial for keeping their models updated, while content creators voice concerns about these bots being tools for vast copyright violations. Earlier this year, Disney and Universal took legal action against AI company Midjourney, claiming that its image generators were reproducing characters from popular franchises such as Star Wars and Despicable Me.

Given that most creators lack the financial means for prolonged legal battles, many have turned to innovative methods to protect their content. They implement online tools that complicate AI bot scraping, with methods like misleading bots, causing AI to confuse images of cars with cows. While this “AI addiction” tactic helps safeguard creators’ work, it may also introduce new risks on the web.

Copyright Concerns

Historically, imitators have profited off artists’ work, which is primarily why intellectual property and copyright laws exist. The advent of AI image generators like Midjourney and OpenAI’s DALL-E has exacerbated this issue.

A key concern in the U.S. is the fair use doctrine, allowing limited usage of copyrighted materials without permission under certain circumstances. While fair use laws are designed to be flexible, they hinge on the principle of creating something new from the original work.

Many artists and advocates believe that AI technologies blur the lines between fair use and copyright infringement, harming content creators. For example, while drawing an image of Mickey Mouse in The Simpsons universe for personal use may be harmless, AI can rapidly produce and circulate similar images, complicating the transformative aspect and often leading to commercial exploitation.

In an effort to protect their commercial interests, some U.S. creators have pursued legal action, with Disney and Universal’s lawsuits against Midjourney being among the latest examples. Other notable cases include an ongoing legal dispute involving the New York Times and OpenAI regarding alleged misuse of newspaper stories.

Disney sues Midjourney over its image generator.

Photo 12/Alamy

AI companies firmly deny any wrongdoing, asserting that data scraping is permissible under the fair use doctrine. In an open letter to the US Bureau of Science and Technology Policy in March, OpenAI’s Chief Global Affairs Officer, Chris Lehane, cautioned against strict copyright regulations elsewhere in the world. Recent attempts to enhance copyright protections for creators have been critiqued for potentially stifling innovation and investment. OpenAI previously claimed it was “impossible” to develop AI models catering to user needs without referencing copyrighted work. Google shares a similar stance, emphasizing that copyright, privacy, and patent laws create barriers to accessing necessary training data.

For now, public sentiment seems to align with the activists’ viewpoint. Analysis of public feedback on copyright and AI inquiries by the U.S. Copyright Office reveals that 91% of comments expressed negative sentiments regarding AI.

The lack of public sympathy for AI firms is attributed to the overwhelming traffic their bots create, which can strain resources and may even take some websites offline—and the content creators feel powerless to stop them. While there are methods to exclude content-crawling bots, like tweaking a small file on a website to prevent bot access, these requests are sometimes ignored.

Combatting AI Data Addiction

Consequently, new tools have emerged, empowering content creators to better shield their work from AI bots. This year, CloudFlare, an internet infrastructure company known for protecting users from distributed denial-of-service (DDoS) attacks, launched technologies to combat harmful AI bots. Their approach involves generating a labyrinth of AI-generated pages filled with nonsensical content, effectively distracting AI bots from accessing genuine information.

A tool called AI Labyrinth is designed to manage 50 billion requests per day from AI crawlers, according to CloudFlare. The objective of AI Labyrinth is to “slow, confuse, and waste the resources of AI crawls and other bots that disregard the ‘no crawl’ directive.” Following this, CloudFlare introduced another tool that compels AI companies to pay for accessing their websites or restricts raw content usage.

An alternative strategy involves allowing AI bots to access online content while subtly “poisoning” it, rendering the data less useful. Tools like Glaze and Nightshade, developed at the University of Chicago, serve as a focal point of resistance. Both tools are freely available for download from the university’s website.

Since its 2022 launch, Glaze defends by introducing imperceptible pixel-level modifications, or “style cloaks,” to artists’ works, causing AI models to misidentify art styles (e.g., interpreting watercolors as oil paintings). Launched in 2023, Nightshade degrades image data in a way that leads AI models to create incorrect associations, such as linking the word “cat” with images of dogs. Both tools have been downloaded over 10 million times.

Nightshade Tool alters AI perceptions of images.

Ben Y. Zhao

Tools designed to combat AI data addiction are empowering artists, according to Ben Zhao, a senior researcher at the University of Chicago involved with both Glaze and Nightshade. “These companies have trillion-dollar market caps, and they essentially take what they want,” he asserts.

Using tools like these allows artists to exert more control over the use of their creations. “Glaze and Nightshade are interesting, innovative tools that demonstrate effective strategies that don’t rely on changing regulations,” explains Jacob Hoffman Andrews from the Electronic Frontier Foundation, a U.S.-based digital rights nonprofit.

Self-sabotaging content to deter copycats is an old strategy, notes Eleonora Rosati from Stockholm University. “For instance, cartographers might include fictitious place names, making them evidence of plagiarism if rivals replicate them. A similar tactic was noted in music, where the lyrics website Genius claimed to have embedded unique apostrophes to prove Google’s unlicensed use of their content. Google denies this claim, and the lawsuit was dismissed.

The term “sabotage” raises eyebrows, says Hoffman Andrews. “I don’t view it as disruptive; these artists are modifying their content, which they have every right to do.”

It remains uncertain how many unique measures AI firms are implementing to handle data tainted by these defensive tactics, yet Zhao’s findings indicate that 85% of these methods maintain their efficacy, suggesting AI companies may deem dealing with manipulated data more troublesome than it’s worth.

Disseminating Misinformation

Interestingly, it’s not just artists experimenting with data poisoning tactics; some nation-states might employ similar strategies to disseminate false narratives. The Atlantic Council, a U.S.-based think tank, recently revealed that the Russian Pravda News Network has attempted to manipulate AI bots to spread misinformation.

This operation reportedly involves flooding the internet with millions of web pages masquerading as legitimate news articles, aiming to boost Kremlin narratives regarding the Ukraine war. A recent analysis by NewsGuard, which monitors Pravda’s activities, found that 10 out of 10 major AI chatbots have output text aligning with Pravda’s viewpoints.

The effectiveness of these tactics emphasizes the challenges inherent in AI technology: the methods employed by well-intentioned actors can inevitably be hijacked by those with malicious intent.

However, solutions do exist, asserts Zhao, though they may not align with AI companies’ interests. Rather than arbitrarily collecting online data, AI firms could establish formal agreements with legitimate content providers to ensure their models are trained on reliable data. Yet, such arrangements come with costs, leading Zhao to remark, “Money is at the heart of this issue.”

Topics:

  • artificial intelligence/
  • chatgpt

Source: www.newscientist.com

This Unusual Underwater “Blue Dragon” Battles Stolen Jellyfish Venom

Far from the shore, in the immense stretches of the open ocean, resides an uncommon assembly of creatures known as “Neustons.”

This environment is a vast, two-dimensional layer of the ocean that bridges the atmosphere with the sea.

Among this group, one of the most fascinating beings is the blue dragon, a kind of sea slug, or naujibrance, more widely recognized as the blue dragon, the sea swallow, or Glaucus atlanticus.

Blue dragons float on the surface, buoyed by the air bubbles they have ingested. To evade predators, they employ a unique biological strategy called countershading.

The underside of their body, positioned upside down, exhibits a bright blue hue that camouflages it against the ocean below, concealing it from aerial hunters above.

Conversely, the side that hangs from the surface boasts silver stripes that mimic the shimmering ocean surface, aiding swimming predators in their upward gaze.

Overall, the blue dragon appears peculiar owing to its sea slug nature. The main body, measuring about 3cm (0.4 inches), seems somewhat sluggish, but it features elongated appendages resembling fingers of varying lengths.

These appendages are not used for waving or swimming; they are anatomical structures called ceratha, essentially serving as a secondary gill by extending the intestines and respiratory system to facilitate breathing.

Like many sea slug species, the Blue Dragon utilizes its ceratha as a weapon. They are notorious hunters, primarily targeting other blue-hued Neustons, including Portuguese man o’ war (Physalia physalis) and jellyfish-like creatures like blue buttons (Porpita porpita) and by-the-wind sailors (Velella velella).

Blue dragons can inject venom into these organisms without fear of being stung.

‘They are vicious hunters, and their main prey is the other members of Neuston’ – Photo credit: Matty Smith Photo

Remarkably, these sea slugs can recycle their prey’s toxins, maintaining them intact and incorporating them into their ceratha.

When threatened by predators, they can launch these toxins as a potent defense mechanism.

Modern challenges pose threats to Blue Dragons and their fellow Neuston inhabitants. A study conducted between Hawaii and California reveals that they inhabit the same remote regions of the infamous Pacific Ocean, including the Great Pacific Garbage Patch, where floating plastic debris accumulates due to swirling ocean currents.

One approach to combat this plastic pollution involves placing a net between two vessels to retrieve debris from the surface. However, this method could inadvertently capture a significant number of Neustons.

The complete ecological consequences of this method remain unclear, but it may have significant repercussions on the marine food web. These creatures serve as crucial food sources for a variety of marine species, such as sea turtles and seabirds.


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First Evidence of Gladiator Battles with Lions revealed through Skeleton Bite Marks

In Roman arenas, gladiators fought lions and other wildlife. Despite the tales of epic battles found in ancient texts, sculptures, mosaics, and portrayed in modern media, physical evidence of gladiators with animal-inflicted wounds has never been discovered by archaeologists.

Recently, skeletal remains from Roman settlements in the UK provided the first direct evidence of gladiators who were injured by lions.

The discovery was made during excavations in York, where a couple was planning to renovate their garden. The cemetery found at the site halted construction plans and revealed a rich Roman archaeological history in the region.

Tim Thompson, an anthropologist from Maynooth University and author of a paper published in the journal PLOS One, highlighted the significance of this discovery in shedding light on ancient Roman practices.

The site in York contained the remains of over 80 individuals, mostly young men with signs of trauma on their bodies. The demographics, injuries, and burial practices suggest that these individuals were gladiators who fought in the area nearly 1,800 years ago.

One particular skeleton, identified as 6DT19, displayed a unique wound on its hip bone that resembled bite marks from a large animal, possibly a lion.

Further analysis indicated that the injuries on the skeletons could indeed be bite marks from large animals like lions. This finding challenged previous beliefs about the absence of physical evidence of gladiators fighting animals.

Dr. Thompson and his team collaborated with British zoos to study animal bite marks and compare them to the skeletal injuries found on the ancient remains.

Through meticulous analysis and comparison, they concluded that the injuries on the gladiators matched those inflicted by lions. While the bite on 6DT19 likely did not cause death, it provided valuable insights into the practices and culture of the Roman Empire.

This discovery not only sheds light on individual lives from the past but also reveals the extent of Roman influence and entertainment involving gladiator battles with animals.

Dr. Marklein, an anthropologist from the University of Louisville, emphasized the significance of these findings in understanding Roman society and its use of violence as entertainment and political display.

Gladiator games served not only as spectacles of power but also as warnings and demonstrations of Roman citizenship and virtue.

This discovery underscores the complex relationship between humans, animals, and culture in ancient Rome.

Source: www.nytimes.com

Review of Monster Hunter Wild: Get Ready for the Ultimate Battles of Your Life!

aFeathered horses, dust and rain, whisk around you, arrive on a mountain path where purple crystals cover the walls with frost. The weather is still outside, but calm inside the cave at the end of the road. The environment allows you to see what kind of creatures live here. Reidau is a horned wyvern that commands the elements.

You’ve seen it before, but when you unexpectedly appear while you were on another expedition, you descended from the lightning striped sky and sunk its claws into an unfortunate pack of hairy lion-like creatures. You weren’t strong enough to face it, but you’re now. Hopefully.

The next battle is to bite the nail. To try to jump out of the corners and teeth paths of powerful electric bolts and Wyvern, you have to pull out all the tricks you know to wear it out. Fire a grappling hook at a rocky outcrop hanging from the ceiling and bring it over the creature. You blow your mouth while for your mount, leaps back to the dragon’s head, clinging and stabbing with a dagger trying to smash against the wall. You will be flung by, fried, stomped, but you will cling to fight and chew on repair potions at every opportunity.

Then an even bigger predator appears from anywhere, taking the monster you fought desperately for 25 minutes with just that jaw and throw it like a rag doll. Take a closer look at it: it’s what you fight next.

The 15-hour story of Monster Hunter Wilds is a series of escalating and escalating epic battles with bigger, more ferocious creatures. I didn’t do it for a moment. Within hours, you’d fought against awful giant spiders, supple sand dragons, and a disgusting, overgrown oil chick child. After that, you will face a nasty and dangerous version of the beasts of monster hunter games, especially the last 20 years, in addition to the fierce fire drawings and dragons shooting lightning from their faces. It’s literally all the killers, no fillers, a long way from the old game of slow and heavy. There, they had to collect mushrooms and fight raptors before they could go near the Wyvern.

The fight is relentlessly wonderful. When the monster fell I let out a breath that I didn’t notice that I was holding. With the exception of Dark Souls and their siblings, no game made me feel like Monster Hunter. The adrenaline of these battles, the peerless, perfectly balanced feel of oversized weapons, and the pure malice and dignity of the creatures make this game feel unparalleled thrilling despite having played it in some way since I was a teenager. And it’s far better than it was back then. Not only monsters, but their huge natural habitats also ripple overflowing into life.

“The monster’s huge natural habitat is full of life.” Photo: Capcom

Towards the end of the Wild story, I have to admit that I felt some disappointment creep up. I enjoyed almost all of these creatures’ clashes. But I wasn’t trying much. Certainly, I have had a lot of experience with these games, but I’m used to being eaten or torn apart to bite by a new monster several times before conquering it. During the entire Wilds campaign, I was knocked out only twice.

But Wilds’ story turned out to be a 15-hour interactive tutorial on what makes Monster Hunter great. This is a roller coaster of combat thrills designed to sell newcomers on the concept and acquire the taste of scale and visual splendor that Capcom’s modern game engine brings to his favorite series. The real fun begins afterwards.

After taking on the worst creature I’ve ever seen, in the final quest of the story, I was dumped into a base camp in the jungle and sent to capture a small, sparked bird of prey. I was humbled quickly. Embarrassingly, I became lazy and it knocked me out.

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Monster Hunter isn’t just about swinging giant spears. It is also about studying quarries, learning their weaknesses and delving into the environment for useful plants and materials used to make coatings of potions, tools and arrows that give you the advantage in battle. Experienced players will help the rookie, so it’s about working with other hunters to complement each other’s playstyle. Being a friend’s Monster Hunter mentor is one of the most rewarding multiplayer gaming experiences out there.

This game cannot be reduced to a series of battles. It’s a community of the world, the ecosystem, and the players. You are some hunters, some nature researchers. Wild goes too far towards frictionless fun in the story, but once I was free to explore, I began to feel more connected to my habitat. From battle to battle, instead of being led by a nose or by my Dascho horse, I climbed up the canopy, scouted for the creatures, took out binoculars, discovered an underwater cave full of hidden corners and useful materials from the campsite. I found myself having to switch weapons more frequently, upgrade armor, and re-recognize myself with a nasty array of gems and doodads that gave hunters useful additional skills.

You can spend a lot of time picking up Wild as a rookie and playing through the story. You can stop there, but it will still be worth the price of admission. But I’ll play it length It’s still time.

Monster Hunter Wilds will be released on February 28th. £59.99

Source: www.theguardian.com

The Emergence of British Nerdcore in Video Games: Hacked Gameboys, Compliment Battles, and Mr Blobby

circleA live jazz band plays Mario Kart, Full Orchestra Sonic plays. But there's an entire subgenre of video game music artists, who are happy to describe their sound as even nerdier. “Nerdcore has been around for 25 years – it's hip hop with nerdy themes, mostly about video games,” says Nick Box, 41, from Blackpool. Box has been in all sorts of “weird, silly bands,” including an electronic horror punk band. Hot Pink Sewer“All I did was dress up as a disabled person and play some backing tracks.” Cliff Grichard And it's weirder than you might think.

“The setting is a ZX Spectrum run by an AI clone of '90s TV presenter Noel Edmonds,” he explains. “The show starts with a Spectrum loading screen, followed by a pixelated Edmonds telling the audience that he's responsible for every celebrity death, political decision and catastrophe of the last 40 years. I run around screaming about stupid celebrities and end up fucking Mr Blobby onstage.”

According to Box, they were a nerdcore rap band based in Sunderland in the 2000s. B Type are his main inspiration and are “probably the biggest nerdy rap band in the UK right now”.

“We weren't the cool kids”… Mega run. Photo: Megaran

“In the early 2000s, there was a music explosion that mixed video game soundscapes with punk rock, hip hop and rap,” says Steve Brunton, aka BType, 39. “Final Fantasy VII was the first game that got people hooked on music, which led to remixes and covers.”

BType have covered Pokémon, Final Fantasy, Mortal Kombat and Cannon Fodder. “Each track is a love letter to the original,” he adds. The band performs with modified Game Boys and live beatboxers. “I'd describe our sound as the Beastie Boys working for Nintendo,” he says. Their shows draw “a wide variety of fans, from metal fans to nerds and geeks who you can tell from their T-shirts. When we started it was a huge untapped reservoir. Now, because everyone plays video games, a lot of people self-identify as fans.”

“What we really need to talk about is Megaran“He's a former English teacher from the US who became popular rapping about Final Fantasy VII and Mega Man and will be opening for Wheatus on their UK tour. He's a really great guy,” he advises.

“Hip hop's second golden age came in the early '90s, when Snoop Dogg, Nas and Wu-Tang Clan were releasing their seminal records,” Philadelphia-born Raheem Jarboe, aka Mega Ran, 45, told me over Zoom from Los Angeles International Airport, where we were waiting for a delayed flight to London. “Some of us were like, 'Let's just write songs,' but we weren't the cool kids, so we just wrote about our lives playing video games.”

Mega Run released his first album in 2006. He quit teaching in 2011 when he received a job offer from Capcom to write music for Mortal Kombat, Street Fighter and Teenage Mutant Ninja Turtles: Shredder's Revenge. “The songs are still nerdy, but the lines are blurring. If you listen to a Kanye West song, you hear a reference to a video game. Before, you didn't think anyone would notice a reference to Marvel Comics. Now Marvel is one of the biggest franchises in the world.”

BxLxOxBxBxY. Photo: Connor Standfield

“Mega Run supported Wheatus on their UK tour in June this year, taking to the stage with the band and rapping during their set of Teenage Dirtbag. “It touches on Nintendo Power, AOL, Yahoo and all the stuff we did when we were kids in the early 2000s,” he says.

Have you heard of Mr B? [The Gentleman Rhymer] “They're British nerdcore artists, and instead of insulting each other, they're praising each other and battling each other. 'You're so cool, your fashion accessories are amazing.' Talk to them, they're fun.”

“It would be nice, especially if we get some positive press,” said the 49-year-old, from Brighton. Paul Alborough Also known as Professor Elemental. “Ten years ago, Michael Gove Mentioned He liked my music and it was in the Guardian. I had to contact him and tell him that if he came to my show, I would have the audience beat him with sticks.”

Alborough describes his character, Professor Elemental, as “a mad, optimistic but woefully incompetent eccentric British explorer and inventor”. He has been performing for over a decade and can be seen at Glastonbury this year in a rainbow suit and pith helmet, with chimpanzees and lions as backing dancers.

Like Mega Ran, Professor Elemental has written songs for Sega and Nintendo, and if you want him to write a personal song it will cost you £500 a song.

So what does he think of his nerdcore contemporaries? “Sometimes I hear people rapping about, say, Mr Blobby, and I think, 'I can't stand this newfangled rap, it's not proper hip-hop'. But then I remember what I do…”

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Weirder than you'd think… Cliff Grichard. Photo: Cliff Grichard

The Mr. Blobby-themed rap leads us to Dan Buckley, 39, the leader of a Mr. Blobby-themed grindcore band. Underline.

“I'm really interested in the blend of music, comedy, surrealism and a good, healthy dose of weirdness,” Buckley says of his two decades in the industry.

www.theguardian.com

Research reveals that Mycenaean armor was created for extended battles

A 3,500-year-old Mycenaean bronze suit of armour discovered in the Greek village of Dendra may have been used in combat and not just for ritual purposes as previously thought.



Volunteer Marines wearing replica Dendra armor during a mock battle during a demonstration study. Image credit: Andreas Flouris / Marija Marković.

One of the oldest armors discovered in Europe is a 3,500-year-old suit of armor found near the village of Dendra, a few kilometers from ancient Mycenae in southern Greece.

Since its discovery in 1960 by a team of Greek and Swedish archaeologists, it has been unclear whether it was ceremonial clothing or gear suitable for combat.

This question has important implications for understanding warfare in Late Bronze Age Europe, yet there is no historical record of the use of this style of armour.

In a new study, Professor Andreas Floris from the University of Thessaly and his colleagues combined historical and experimental evidence to investigate the combat suitability of Dendra armour.

The researchers recruited 13 volunteers from the Greek Marine Corps, outfitted them with replica Dendra armour and Bronze Age weapons, and had them carry out 11 hours of simulated Bronze Age combat protocols.

This battle simulation was developed based on the historical records of Homer. Iliad Additionally, we add physiological and environmental evidence to approximate the typical diet, activities, and operations of a Mycenaean army.

Testing has shown that the replicated Dendra Armor does not restrict a warrior's combat capabilities, nor does it place undue strain on the wearer.

These results suggest that Dendra armour was battle-hardened and that the Mycenaeans' powerful influence on Mediterranean history was due in part to their armour technology.

To complement these results, the authors developed freely available software that allows for the simulation of combat conditions and allows testing the hypothetical effectiveness of the armor in more diverse scenarios.

“The armour worn by our volunteers had the same dimensions as the Bronze Age originals and weighed roughly the same,” Professor Floris said.

“We also monitored calorie intake based on the Homeric diet (about 4,443 calories), which Iliad“It linked calorie expenditure and the stress placed on the volunteers' bodies in typical Greek summer temperatures of 30-36°C.”

“As the 11-hour combat protocol began, we measured heart rate, oxygen consumption, core body temperature, fluid loss and muscle function.”

“We found that this armor allows complete flexibility of movement and does not place undue physiological stress on the body.”

“This means that, despite previous views that classified the armour as ceremonial clothing, it could have been worn for extended periods during battle by healthy individuals.”

“Sixty years have passed since the discovery of Dendra armour, and we now know that, although seemingly cumbersome, it was not only flexible enough to permit nearly all of a warrior's movements on foot, but also durable enough to protect the wearer from most blows.”

of result Published online in the journal PLoS One.

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AD Floris others2024. Analysis of Greek prehistoric full-body armour combat based on physiological principles: a series of studies using thematic analysis, human experiments and numerical simulations. PLoS One 19(5): e0301494; doi: 10.1371/journal.pone.0301494

Source: www.sci.news