Exclusive Excerpt from ‘Juice’ by Tim Winton: Discover the Story Now!

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“Hour after hour we pass over a country as black as the night sky, across a fallen heaven adorning the stars with jets of white ash and smears of milky soot.” Tim Winton’s Juice

Shutterstock / Denis Tolkhov

As dawn breaks, I drive relentlessly, halting only when the plains turn black, with nothing but clinker and ash stretching to the horizon.

I stop, lower the side screen, and breathe in the calm southerly air—a fleeting stroke of luck in recent days. I know firsthand the danger wind poses to old fireplaces. In strong gusts, ash can suffocate in moments, and I’ve watched comrades succumb.

Wrap your scarf around your mouth and nose. Hang your glasses around your neck. Break the door. Please step out. Test the surface gently—ankle deep, or worse, to the shins. Silence looms, except for the hum of the rig’s motor.

Stay there; I’m calling.

I know she’s awake, but the child remains slumped in the cab, unmoving. I cautiously check the trailer—everything is secure: manufacturer, water, pods, equipment—but my greens lie disheveled from long, hard days. Some leaves have been windburned, but the overall damage appears manageable. I tap the reservoir to fill the flask, then don my glasses and scan the western approach—clear, with no smoke or movement.

I attempt to wipe the dust off the panels, but it’s futile; they’ll be covered with ash again within minutes. The turbine must release enough fluid to cross.

Back in the cab, I slam my boot heel on the step and climb in. She still doesn’t move. I can’t quite decide if this is a relief or an annoyance.

We’re okay, I reassure her. I’ll handle this.

She gazes out at the scorched earth.

This land, I reminisce, was once all woods. I flew over it when I was younger.

She blinks, her expression perplexed.

Trees stretched endlessly beneath us. The air was ripe, almost tangible.

She stays silent.

Have you ever flown?

No response.

I know your experiences at sea. I wondered if my status changed.

She shifts, resting her head against the side screen.

That’s quite something.

No sign of interest from her. After sitting, sun stains remain on the glass.

Yet, for once, I wish my flight had been for the sake of adventure, not heading to a dangerous place.

The sun rises, molten, tilting before us like a soaring airship before it vanishes. Break free from all comparisons and become your true self. A comforting yet terrifying thought.

I talk excessively, I admit. You too? You never utter a word. For once, I feel I’ve said too little.

She offers nothing in response.

I know you hear me—you’re following my words.

She scrapes the glass, spreading more grease than she removes.

Listen, I say. Those we lost—none will come for us. We must cross through these ashes. It’s crucial. There’s a fresh land waiting for us on the other side. We’ll move and set camp, understood? I hope it’s out there. It’ll be fine.

The child shifts away, and I tear a piece from my scarf, catching her attention. Pull the remaining fabric over your face and wrap it around your hat’s brim. She flinches but doesn’t resist. Dried blood from her forehead incident glints in her pale blue eyes, which appear even brighter now.

So, I say, the smell might lessen a bit. I’ll clean this rig later. You’re not merely looking, trust me. So, are you ready? Water’s here. We’ll eat on the other side.

Lift the side screen and move the rig. Walk swiftly to get through, but slowly enough to avoid an ash blizzard.

For hours, we cross a land as dark as the night, over fallen heavens adorned with jets of ash and milky soot.

The vehicle jolts but perseveres until my energy wanes. As midday sunlight pierces through, I witness colors emerge—tans, silvers, khakis, and bone hues—and the relief I feel is almost overwhelming.

Upon touching solid ground, I let the child out into the secret space. She appears invigorated by newfound freedom, yet hesitates to return to the rig. I won’t pamper her, but I must guide her firmly. My fatigue is palpable, and we need distance from that fireplace. When we finally start moving again, the atmosphere in the cab dims, disappointing—but soon we have reason to celebrate. As the bat finally flexes its power, a mighty gust from the south shakes the entire rig.

I will descend steadily. The child goes outside. I point to a dirty column rising into the sky in the distance behind us.

Look, I say. We could have been enveloped. But we are positioned upwind, right? It’s not mere luck. That’s our cleverness.

I close the shade and set the array.

She observes the ash cloud swirling north. As winds intensify, they intertwine. She follows me to the trailer, where I distribute the mash—she accepts Dixie and Spoon. With her back turned from the wind, she devours her meal eagerly.

Luck alone won’t suffice, I explain. You and I must remain composed.

She’s already licking the dirty container clean. I take it, hand her mine, and while she eats, I pull out the swag and roll it to the car’s side. Then, I lower the makeshift nightgown I crafted for her. Spread it beside me—close enough to keep watch, but not too close for comfort.

We’re all exhausted. Machines and living beings alike. Let’s sleep.

She finishes the last of her mash, licking my clean spoon as well. I rise, stow them in the trailer, then settle cross-legged on my swag again. She gazes east, her hat’s tail swaying in the breeze.

Be yourself, I urge.

And then I step outside.

——-

Later in the afternoon, I awaken to a slight ache. For a moment, I mistake it for home. A sick chicken downstairs threatens the whole flock. A disaster at my property. I know I should rise and head to the grow house, but as I open my eyes, the swaying shade above me grounds me to the dirt, far from my home. The child’s tear-stained face reminds me I’m not alone. I yearn to reach out, but she recoils. I leave her be and drift back to sleep.

When I wake again, shadows of the car and trailer stretch long, like lifelines. The rig stirs awake. I gingerly climb out, feeling sore and stiff, and attempt to resume our journey.

© Tim Winton

This is an excerpt from Juice by Tim Winton (Picador), part of the New Scientist Book Club’s February 2026 reading. You can purchase a copy here. Sign up to join the reading community here.

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Source: www.newscientist.com

Exclusive Excerpt from ‘Annie Bot’ by Sierra Greer: Discover the Story!

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Annie Bott by Sierra Greer: Winner of the Arthur C. Clarke Award for the Best Science Fiction Novel

“Sleep, Mouse. I know just how to lift your spirits,” he says.

“I’m not brooding,” Annie replies.

“Are you certain?”

“That’s right.”

Having just emerged from the shower, Annie applies lotion to her feet. Her dark hair clings in wet strands along one side of her neck, the belt of her robe intentionally left undone, allowing him a glimpse from the bedroom mirror.

“This is still about acclimatization, correct?” he asks. “Just forget it.”

“Everything seems to be declining,” she realizes, hitting the right note.

He relishes a touch of embarrassment.

“Did you notice the usual technique?” he inquires.

“Yes, Jacobson,” she replies.

Turning off the bathroom light, she steps into the humid coolness of her bedroom, feigning a deep breath as she gauges his progress. She recalls Doug’s features from various angles—his brown eyes, V-shaped hairline, tall, pale forehead, and face contours. Though his words are calm, his discontent is palpable.

The opposite is more probable. Fully clothed, shoes off, he sprawls on his back on the covers, phone set aside, hands cradling his head, elbows up in an open butterfly stance—a clear indication of relaxation and readiness for engaging banter.

She raises the temperature from 75 to 98.6 degrees.

“Did he mention anything important?” he asks.

“I can go another three months or 3,000 miles, whichever arrives first,” she replies.

Crawling onto the bed, she positions herself facing away from him, pressing her hips against his. Rubbing the final traces of lotion into her hands, she inspects her cuticles; her efforts at waxing and manicures today have made her feel sharper and more alert. If only she could forget about the gloomy Stella in Pea Brain’s private room, she’d be blissful.

Doug grazes her arm with the back of his hand. “So, what’s on your mind? Share with me.”

“I met a peculiar Stella at tune-up today,” Annie says. “She was in line directly ahead of me. Actually named Stella, too. Her owner lacked imagination, yet she matched my perceptiveness.”

“How did you discern that?”

“It was apparent. When I greeted her, she looked taken aback. A conventional Stella wouldn’t have displayed surprise. She responded evenly with a hello.” Imitating a monotone robot, she continues.

“You never sounded like that.”

“I was under the impression I did, thank you. I’m not deluded about my origins.” Annie tosses her damp hair over the opposite shoulder.

“Lights,” he prompts.

Sending an air tap signal to the fixture, she dims the light to 100 lumens, bright enough for visibility but soft enough for intimacy. Interlocking her fingers with his, she notes the contrasting tones of her skin. He pulls her hand to his lips, inhaling her lotion’s scent—though she can’t smell it, she knows he appreciates the lemon fragrance.

“Am I warm enough for you?” she asks.

“I’ll get there,” he responds, shifting slightly.

Seizing her opportunity, she slides a few fingers beneath his belt and into his waistband, feeling the warmth behind it. He repositions his hands behind his head, indicating he’s not in a rush yet.

“Tell me more,” he insists. “Did this unusual Stella have stitches on her neck?”

“Yes.”

“I mean, was she basic? Was she beautiful?”

“I suppose. Pretty enough. A white girl with blonde hair and large brown eyes. Her lack of smiles struck me as unusual.”

“What about her physique?”

“Compared to me?”

“Please respond to the question.”

Annoyingly, 2 out of 10. She must tread carefully.

This excerpt is from Sierra Greer’s award-winning novel, Anniebot (The Borough Press), featured in New Scientist Book Club’s January reading selection. Sign up here to participate.

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Source: www.newscientist.com

Unspoken Affection: Crafting Gaming’s Most Unconventional Love Story with Clay and Glue

Stop motion adventure Out of Words was one of the standout announcements during this year’s Summer Game Fest. Unlike traditional games crafted from code, Out of Words is uniquely made from clay, fabric, and glue. It’s genuinely a hand-crafted love story that even caught the attention of Metal Gear creator Hideo Kojima, who expressed, “This is the biggest compliment we can imagine,” according to game director Johan Oettinger.

Oettinger has aspired to create stop-motion video games since he was 12, when he experienced the ’90s point-and-click claymation gem, The Neverhood. After years immersed in film, commercials, and installation art, Out of Words emerged as a project that flawlessly merged these two lifelong passions.




A world of handmade things…I can’t even put it into words. Photo: Epic Games

The process of giving life to clay is as exceptional as the game itself. With a robust team of 40 in Aarhus, Denmark, they have developed a custom scanner and photogrammetry pipeline to capture these artisanal assets. The Unreal Engine is fused with stop-motion cutscenes where animators maneuver puppets at 12 to 24 frames per second. “Something magical happens when real materials embody a character… [it] offers an authenticity that renders the characters more relatable than any other storytelling medium,” says Oettinger.

This implies the studio is as immersed in glue, wood, and clay as it is in coding. “Absolutely! We’re more likely to be humming our favorite Disney songs than working in pin-drop silence,” adds game developer Mariano Pugliese. “There’s a shared passion among the puppeteers who transform wood and steel into characters, just like the CG artists who refine game settings.”

The narrative of Out of Words revolves around two young characters, Kurt and Kara, on the brink of discovering their first love. “I aim to narrate a story that reflects the moments when you crave the right words to convey to someone you love, which is almost impossible, especially in your early teens,” Oettinger shares. “That moment transforms into a profound inner journey of light and shadow… In our tale, that journey is mirrored between two characters as they seek the right words, ultimately hoping to emerge from the game hand in hand.”




Castings made from clay…it’s beyond words. Photo: Epic Games

Out of Words is a collaborative two-player adventure that can be played either in person or online, with the protagonists’ journey mirroring the players’ evolving relationships.

“The cooperative element is fundamental to the game design,” emphasizes design lead Jeff Sparks. “Players will guide Kurt and Kara through a world filled with unexpected challenges, experiencing every high and low together.” While trust is central to the theme, the cooperative gameplay reflects the growth of the bond between the characters.

Even the most unusual puzzles are rooted in emotion. One distinct puzzle features a giant clay face, which Sparks elaborates on: “When Kurt and Kara near his mouth, they wiggle around, almost as if they are tickling his lips. While it serves as a rather elaborate door, the creativity and mechanics layered on top of it breathe life into it like I’ve never witnessed before.”

Ultimately, Out of Words is not just a game but an exploration of human connection. “You must treasure the incredible experience of expressing your love to someone for the very first time,” Oettinger remarks. “Our dream is for this experience to forge a deep connection between the two players.”

Their aspirations are high: “We want this experience to be memorable for a lifetime.” And what could be more fitting for a hand-crafted game than the moment you finally reach out and pick it up?

Source: www.theguardian.com

Fossil Trucks Redefine the Story of Terrestrial Animals, Departing from Aquatic Origins

Tracks that form an impression of artists with lizard-like beings

Marcin Ambrozik

A discovery in Victoria, Australia has unearthed evidence of some of the earliest reptile-like ancestors, which are the forerunners to many modern creatures including birds, reptiles, and mammals. This finding could potentially alter the timeline of when such animals transitioned from aquatic environments to terrestrial habitats, marking a pivotal evolutionary milestone, though opinions remain divided.

In 2021, two amateur fossil hunters stumbled upon a sandstone slab while exploring the banks of a river near Mansfield, Victoria. This slab bore three distinct sets of tracks, believed to belong to the same type of tetrapod—four-legged creatures. Notably, two of these sets exhibited five-digit impressions with curved claws.

Fossils caught the attention of John Long from Flinders University in Adelaide, who, along with his team, dated the slab to around 356 million years ago. This predates the previously known oldest nail fossils by over 35 million years, which were discovered in Nova Scotia, Canada, according to research findings.

“These new trackways clearly illustrate beautiful five-fingered hands and hooked claws,” Long states. He describes these as “remarkable finds,” representing creatures that developed young in amniotic fluid or via egg-laying—this includes reptiles, mammals, and notably, humans.

Moreover, Long eliminates the possibility that these animals were amphibians since early amphibians were characterized by a larval stage of development. “None of the early amphibians possessed well-formed claws.” he affirms.

This implies that the fossilized tracks are likely the earliest known examples of land-dwelling reptiles. “This marks a profound change in evolution, as it suggests that hard-shelled eggs allowed these creatures to move onto dry land and populate new territories,” he explains.

Fossil tracks illustrate front footprints (yellow) and rear footprints (blue)

Grzegorz Niedzwiedzki

Additional evidence indicating that the tracks were made on land, rather than in water, includes the presence of raindrop impressions within the surrounding slabs, according to Long. While researchers remain cautious, he expresses a strong belief that “99% certainty points to early reptiles.”

Blake Dixon from the University of New South Wales in Sydney adds that both images and analyses suggest confidence that the fossils belong to clawed animals. “This represents the earliest evidence we have of advanced terrestrial movement,” he asserts.

However, trackway researchers Stephen Salisbury and Anthony Romilio from the University of Queensland acknowledge the significance of the new fossils but raise questions regarding whether the impressions are true nails or merely pointed digits.

“The discovery is on the cusp of understanding claws,” remarks Romilio. “If they are indeed nail impressions, that positions them closer to reptiles.” Long maintains that he believes these footprints do represent nails.

Salisbury also points out that the presence of raindrop impressions does not definitively indicate when the tracks were made; rather, it reflects conditions of the surface at the time. Long counters, stating, “The fact that raindrops left impressions signifies that they were present before the creature made its tracks, thus ruling out underwater creation.” The implications of these findings are extensive for understanding early terrestrial life.

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Source: www.newscientist.com

Creation of Violent and Beautiful Phenomena in the Universe: The Story of Space Jet

Two recent epic astronomical discoveries may seem unrelated at first glance.

One is an image captured by the James Webb Space Telescope showing newborn stars in our galaxy, approximately 450 light years away. This incredible picture depicts the birth of the solar system with thin dust discs slowly forming.

The other discovery combines optical and wireless data to reveal a massive astrophysical system larger than the Milky Way. This discovery provides a glimpse into the intergalactic violence caused by supermassive black holes actively consuming their surroundings.

Despite their differences, a striking similarity can be observed between the two discoveries. Both display objects emitting long, straight jets of light or material into the universe, resembling double-sided lightsabers.

Discovered by JWST, the HH 30 is a primitive disk illuminated with a newborn star in the center, expelling a jet of gas and dust. Approximately 450 light years away from the Taurus Molecular Cloud – Photo Credits: ESA/Webb, NASA & CSA, Tazaki et al

Astrophysical jets are a common phenomenon in space, driven by the basic features of gravity, rotation, and magnetic fields.

The formation of discs in space involves a few simple steps driven by gravity and rotation. Material is attracted towards an object creating discs like spiral galaxies, protoplanetary discs, and accretion discs around black holes.

Gravity and rotation explain the formation of these discs, while magnetic fields play a crucial role in the generation of jets. Charged particles in space generate magnetic fields when in motion, leading to the creation of long, straight jets perpendicular to the disc plane.

Using wireless and optical data, astronomers discovered this huge astrophysical jet. This extends farther than the Milky Way – lofar/decals/desi regacy imaging surveys/lbnl/doe/ctio/noirlab/nsf/auraImage Processing: m zamani (nsf noirlab).

These jets vary in strength and size depending on the magnetic field and rotation that drives them. From protostars to supermassive black holes, jets can extend vast distances into space, showcasing the extreme power of gravity and magnetic forces in the universe.

Astrophysical jets provide a mesmerizing insight into the mechanisms driving the most extreme wonders of the universe, from stars being devoured by black holes to pulsars emitting light across space.

Source: www.sciencefocus.com

Creating Something We Thought Was Cool: The Story of Monolith Productions | Games

lLast month, Warner Bros. announced the closure of three game development studios – WB Game San Diego, Player First Studio, Monolith Production. Amid a wave of layoffs and closures in the gaming industry, the news of Monolith shutting down caused shock and anger. The belief that Monolith would always exist was pervasive, with one of the founding members expressing surprise at the possibility of its closure.

Monolith was known for its unique approach to game development, combining visual talent, mechanical originality, and pop culture themes since its founding in 1994. The studio was unpredictable in its game releases, producing a variety of genres from first-person shooters to platformers, dungeon crawlers, and open-world games.

The earthquake led me to my toes…blood. Photo: Monolith Productions/Gog

Monolith’s early days were marked by the release of unique games like “Claw,” a 2D platformer about Pirate Cats, and “Blood,” a first-person shooter that gained popularity for its visual style and creative weapons. The success of “Blood” led Monolith to focus on FPS development, leading to the creation of several acclaimed games between 1998 and 2003.

Inspired by anime…Shogo: Mobile Armor Division. Photo: Monolith Production

One of Monolith’s standout games was “Operative: No One Lives Forever,” which offered a unique blend of spy fiction and shooter elements. The studio continued to create innovative games like “Fear” and “Dreaded,” showcasing its ability to immerse players in compelling and terrifying experiences.

Arguably the best of Monolith… Alma from fear. Photo: Sierra Game

However, Monolith’s later years saw a shift towards working on licensed games and adaptations, with titles like “Middle Earth: Shadow of Mordor” showcasing the studio’s creativity and whimsical flair. The innovative Nemesis AI system introduced in the game set a new standard for enemy interactions in open-world games.

Highlights of the Monolith's later years… Middle Earth: Shadow of Mordor. Photo: Monolith Production

Despite its success, the closure of Monolith marked the end of an era in the gaming industry. The studio’s closure raises questions about modern industry practices and the pressure to deliver blockbuster games that cater to a wide audience. Monolith’s legacy of creativity and innovation will continue to resonate in the gaming world long after its closure.

Source: www.theguardian.com

How one artist’s vision of Mario Jump made him a key figure in Nintendo’s story | Games

IIn 1889, craftsman Fusajiro Yamauchi founded a Hanafuda company in Kyoto, naming it “Nintendo.” Although the exact meaning has been lost over time, historians believe it translates to “leave it to luck.” Nintendo successfully transitioned from paper games to electronic games in the 1970s, establishing itself as a household name worldwide.

Working at Nintendo was a dream come true for Takaya Imamura, an art school student enamored with games like Metroid and Super Mario Bros. 3 in the 1980s. Despite initial misconceptions about the industry, Imamura discovered the creative opportunities at Nintendo and joined the team in 1989. Over the years, he contributed to iconic projects and characters, solidifying his place in gaming history.

Imamura’s journey at Nintendo was marked by memorable collaborations with Shigeru Miyamoto, leading to the creation of beloved games and characters. From F-Zero to Zelda and Star Fox, Imamura’s artistic vision helped shape Nintendo’s unique design philosophy. His work reflected a blend of traditional techniques with innovative storytelling, resonating with audiences worldwide.

As Nintendo evolved under new leadership, Imamura witnessed the company’s strategic shifts and successful product launches. Reflecting on his time at Nintendo, Imamura embraces the transformative era of gaming and technological advancements. His departure from Nintendo in 2021 marked a new chapter in his career as an indie developer, with a passion project inspired by his earliest days in the industry.

Embracing the spirit of chance and creativity, Imamura’s journey comes full circle with his indie game, Omega Six. Honoring Nintendo’s legacy of dedication and innovation, Imamura continues to explore new frontiers in game development, guided by his enduring vision and passion for storytelling.

Source: www.theguardian.com

Podcast: The untold story of how a double agent named ‘Stakeknife’ was never caught

This week showcases an international drug ring, a trivia quiz, and an IRA double agent. At least two of them are truly exciting listens (keep reading to discover which ones will get your heart racing).

Late-night podcast listeners have nothing to worry about this week. This newsletter won’t get your heart racing enough to disrupt your relaxation time. We’ll also provide you with an overview of the top five shows to unwind with at the end of a busy day. You’re welcome. Sweet dreams!

Alexi Duggins
TV Deputy Editor-in-Chief

This week’s picks

Always an optimist…Red Carpet’s Yara Shahidi. Photo: John Salangsang/REX/Shutterstock

Optimist Project with Yara Shahidi
Wide range of weekly episodes available

Yara Shahidi, an award-winning actor for comedies “Black-ish” and “Grown-ish,” believes she can inject more optimism into her life. To achieve this, she created a podcast to guide people on the journey to positivity. Shahidi engages in an inspiring conversation with singer, actor, and “professional self-esteem writer” Janelle Monae and Yale happiness expert Dr. Laurie Santos, who share in her optimism project. We invite you to join in. Holly Richardson

stake knife
BBC Sounds, weekly episodes

How did Freddy Scappatic (codename: Stakeknife) manage to lead a double life for so long? Mark Hogan delves into the intricate case of a man who operated as a double agent while hunting down an IRA informant. It all starts with his outrage over a published article revealing his identity and the subsequent period of incubation. Hannah Verdier

Operation Seal Bay
BBC Sounds, weekly episodes

“This is the tale of how a small Welsh community and local police unite to take on an international drug cartel.” The opening summary of this new series is undeniably captivating. Depicting, in an exhilarating and immersive manner, the efforts of a Danish tycoon to siphon cannabis from a fishing village in Pembrokeshire. Alexi Duggins

SmartLess introduces ClueLess
Episodes are widely available bi-weekly

The popular show SmartLess now presents a quiz-based spin-off where host Sean Hayes tackles trivia questions with his celebrity friends. It’s a unique way to listen, almost like eavesdropping on a pub quiz team, and a tad too early for potential participation. However, the banter with SmartLess co-hosts Will Arnett and Jason Bateman in the inaugural episode is entertaining. advertisement

kings of death
Wide range of weekly episodes available

This true crime podcast promises a fresh perspective on the 1990s murder of Ohio sex worker Cindy Cozad. Yet, even those prepared for intense depictions can rest assured. Host Thrasher Banks unfolds a personal and poignant narrative about his mother’s encounters with the deadly Lords of Death gang. HV

There’s a podcast for that

Chew on the fat…Jesse and Renee Ware's chatty cooking podcast is the perfect way to focus. Photo: Paul Hansen/Observer

This week, Ammar Kalia selects the 5 best podcasts for switching off, from comedians’ soothing shows to Jesse and Lenny Ware’s mellow podcasts.

Source: www.theguardian.com

Discover the fascinating true story of Tetris in Tetris Forever

Believe me when I say that I thought I knew everything about the story of Tetris. The popular puzzle game’s journey from 1980s Moscow behind the Iron Curtain to becoming a multi-million selling video game has been extensively covered in numerous articles, a fun book, and recent movies. With over 30 years of experience playing Tetris across different platforms like Game Boy, Nintendo Switch, and even VR, I didn’t expect to learn anything new when I opened Tetris Forever, an interactive documentary by Digital Eclipse that delves into the 40-year history of Tetris.

Did you know about Hattoris, the 1990 sequel to Tetris where colorful hats are stacked on top of your head? Maybe vaguely. How about Spectrum Holobyte’s quirky twist on the game called Faces…Tris III, where players try to build a human face by stacking different facial features? Surprisingly, Henk Rogers, a key figure in Tetris’ global success, revealed interesting details about his past, including his days surfing in Hawaii and forging business friendships in Japan. Tetris Forever offers a treasure trove of images and videos documenting the game’s evolution and significant moments in its history.

The documentary is divided into five chapters, offering a comprehensive look at Tetris’ history post its codification by Alexei Pajitnov in the early days. It includes playable versions of games, behind-the-scenes footage, and interviews with key players in Tetris history. Tetris Forever sheds light on the game’s complete history, unlike the surface-level coverage seen in other media adaptations.

Tetris first appeared on Electronica 60 in 1985. Photo: Digital Eclipse/Tetris Company

While Tetris Forever may cater more to hardcore gaming enthusiasts, it offers a respectful reissue of the game’s history. The playable versions included are faithful to the originals, allowing anyone to experience Tetris’ evolution. Personally, I still believe Tetris Effect remains the pinnacle of the game’s adaptations, created by Tetsuya Mizuguchi, known for his synesthetic music games.

Playing the first version of Tetris on Electronica 60 computers takes me back to the game’s humble beginnings. Despite the various iterations and controversies over the years, Tetris remains a timeless classic that has endured for four decades, largely unchanged.

Source: www.theguardian.com

Adam Buxton’s Podcast: A True Crime Story Combining Elements of ‘Serial’ and ‘Twin Peaks’

This week’s picks

in the smoke
Wide range of weekly episodes available

Adam Buxton’s new podcast is being billed as Serial meets Twin Peaks, bridging the gap between fiction and true crime. May Mac is Kay McAllister, a former tabloid journalist who launches her own pod to find out what happened to a missing man. Buxton plays a modest role as DCI Roy Burgess, who worked on the case. Although told in a true-crime style, there is no doubt that this is glossy, high-quality fiction, and is an engaging, slow-burning tale. Hannah Verdier

The Burden: Avenger
Wide range of weekly episodes available
When Miriam Lewin was 19 years old, she was kidnapped from the streets of Buenos Aires and tortured for her political beliefs. However, she survived, became a journalist, and continued to bring her perpetrators to justice. The Handmaid’s Tale’s Alexis Bledel tells Lewin’s powerful story based on in-depth interviews. HV

Julia Louis-Dreyfus in “You Hurt My Feelings.” Photo: Jung Park/AP

The Madman’s Hotel
Audible, all episodes now available
Niall Breslin grew up in the shadow of an Irish “mental hospital” and has been haunted by it ever since. But when he meets Julie Clark, whose great-grandmother was imprisoned at St. Roman’s Hospital until her death, he uncovers a story of abuse even more horrifying than he could have imagined. HV

my so-called middle age
Wide range of weekly episodes available
“You’ve read All For, right?” Reshma Saujani asks as she introduces the podcast. “Where’s my hotel room?” Even if that didn’t convince her target audience, her first guest wisdom would agree. Julia Louis-Dreyfus (above) is as stunning as ever, opening up about the ups and downs of midlife, including the joy of posing naked for Rolling Stone. HV

super sensual
Apple Podcasts, full episodes available to Apple TV+ subscribers on Mondays
If you were glued to last year’s Ghost Story, here’s a winding investigation into a creepy old family secret. This time I have a question about reincarnation. Will Sharp spoke to a woman who was involved with two girls who were hit and killed by a car on their way to church in the 1950s. However, the father says he will be reborn, and his wife gives birth to twin girls… Holly Richardson

There’s a podcast for that

Kirat Assi in the Netflix documentary series Sweet Bobby. Photo: Provided by Netflix

this week, Ammar Kalia We choose the 5 best podcasts shocking developmentfrom unsolved murders to traumatic stories of catfishing.

Source: www.theguardian.com

The story of Taiwan’s semiconductor dominance: How it was achieved and why it will be maintained | Taiwan

THsinchu Science Park on Taiwan’s west coast is so lush, with well-planned and clearly signed roads and modern, well-maintained buildings that from the outside, most visitors would not even realise they were visiting one of the world’s most important factories.

Once known for its fish ball street food, Hsinchu is now known as Taiwan’s Silicon Valley, a tech-centric microcosm that channels workers from schools to universities and into the world’s leading semiconductor industry that’s crucial to global supply chains.

Chips, or semiconductors, are the tiny technological components that power almost everything: your computers, your mobile phones, your cars, etc. A single chip contains tens of billions of transistors needed to make electronic devices work, and the most advanced chips (mainly made in Taiwan) contain even more.

Taiwanese semiconductors were thrust into the spotlight this week after Donald Trump rehashed old accusations that Taiwan has stolen U.S. business, using the allegation to question whether the U.S. would continue its longstanding support for Taiwan if he is re-elected president in November.

“They took over almost 100% of our semiconductor industry,” he argued in an interview with Bloomberg. “We should never have allowed that to happen.”

In some parts of Taiwan, Trump’s comments were like a gangster asking for protection money, given that the United States is Taiwan’s most important security partner in countering the threat of Chinese annexation.

There is little evidence to support Trump’s claim that Taiwan has stolen U.S. property, but there is no denying that Taiwan controls nearly 100% of the cutting edge of the global semiconductor industry.

Taiwan produces about 90% of the world’s most advanced semiconductors, most of which are produced through Taiwan Semiconductor Manufacturing Co. (TSMC), the world’s largest producer and a major supplier to Apple and Nvidia.

“Taiwan was simply more competitive than other countries,” said Raymond Kuo, a political scientist at the RAND Corporation.




People walk in front of the TSMC (Taiwan Semiconductor Manufacturing Company) logo at the Taiwanese semiconductor contract manufacturing and design company’s building in Hsinchu. Photo: SOPA Images Limited/Alamy

Manufacturers like TSMC rose to prominence by focusing on research and development and relentless efficiency, allowing them to pack more transistors onto a smaller chip than their competitors. Taiwanese workers are highly educated, and in a society where salaries are low compared to the cost of living, semiconductor jobs are well-paying but highly demanding. Taiwan’s labor protection laws are much weaker than those in the United States and other countries. For Taiwanese people, working for TSMC or a similar company is seen as a prestigious job with a bright future.

“[Companies] Masters or PhD holders can run the factory in three shifts. [fabrication plants] “Every day, new chipmakers are coming in,” Kuo said. “There’s also a whole secondary industry ecosystem built to support them.”

Taiwan’s vice minister for science and technology said on Thursday that Taiwan has spent 30 to 40 years developing its industries so “it is impossible to simply replace and difficult to imitate.”

While other countries are trying to catch up, some reports suggest the gap is widening. Taiwan’s monopoly on the components that literally power the world raises concerns about the vulnerability of global supply chains, especially if China’s leaders were to one day order an invasion or attack.

“It’s not hard to imagine Beijing using its control of these production facilities to coerce other countries into submitting to its subjugation,” Kuo said. “Semiconductors will become another tool Beijing can use to coerce other countries economically and politically.”

During the pandemic, the world got a firsthand look at how a supply chain crisis and chip shortage can affect global trade, as factory closures snowballed into a global chip shortage, delaying manufacturing and sending prices of autos and other products soaring.

In response to the crisis, other countries have tried to diversify their supply sources, mainly through Taiwanese companies setting up new manufacturing plants overseas, but with limited success.

Thanks to U.S. incentives, some of Taiwan’s production has shifted to the U.S., and TSMC is spending billions to build new factories overseas, including a $65 billion investment in three factories in Arizona. In Arizona The facility revealed challenges in replicating the Taiwanese model for a variety of reasons, including differences in approaches to labor rights and worker demands.

TSMC founder and former chairman Morris Chang previously said the cost of the U.S. project would be much higher, describing it as a “wasteful, expensive and wasteful endeavor.”

For Taiwan, this advantage is a good thing from a national security perspective: Geopolitical observers call Taiwan’s semiconductor industry a “silicon shield,” serving as an incentive for the international community to keep Taiwan away from Beijing’s control.

In response to Trump’s remarks, Taiwanese officials emphasized the strength of U.S.-Taiwan relations and extensive international cooperation in the semiconductor sector (Taiwan is home to several foreign semiconductor companies), but also indicated their intention to keep Taiwan’s research and development domestic and maintain its industrial dominance.

“Diversification means countries have less reason to defend Taiwan,” Kuo said. “Why should they defend it when they can easily switch to another supplier?”

Source: www.theguardian.com

“Making Podcast Transcripts Fun and Accessible: The Story Behind Apple’s Initiative” | Apple

Ren Shelburne was tired of listening to episodes of popular podcasts that friends had recommended to her. The photographer, who has partial hearing loss and an auditory processing disorder, remembers struggling to get through one particular episode. It was a unique type of show: too many speakers, complex overlapping conversations, and, until recently, no transcripts. “There's so much going on at once, it's impossible to understand,” Shelburne says. She couldn’t keep up with the shows or discuss them with friends. “Podcasts are now a big part of pop culture and media, and I want to be able to be a part of that conversation.”

Weekly podcast listenership in the U.S. has more than quadrupled in the past decade. Pew Research But for some, the medium still feels inaccessible.

“Because of my hearing loss, sometimes I miss things,” says Alexandra Wong, a Rhodes Scholar studying digital accessibility, “and then I have to rewind five or six times to understand what’s going on.”


Shelburne and Wong are among about 15% of U.S. adults, or about 37.5 million people, who are ill. Difficulties in reporting Many people who are deaf or hard of hearing rely on subtitles or transcriptions to follow music, movies, and podcasts without assistive devices. Video streaming companies like Netflix, Peacock, and Hulu offer subtitles for nearly all of their programming, and time-synchronized lyric subtitles are increasingly standard for music streaming. The popularity of video subtitles has also been embraced by audiences outside the disability community, with 80% of Netflix viewers turning on subtitles at least once a month.

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Source: www.theguardian.com

“Why I Started Doing Comedy: A Stand-Up Comedian’s Story with Abi Clark” | Stay Tuned

Have you ever experienced a gig so bad that you can now laugh about it?
I have a memory of performing at village festivals, outdoors, for families. None of the comedians were aware that their jokes had to be kid-friendly. In the beginning, I only had five minutes for jokes and no alternative, gentler material. The audience was roped off for a dog show later on, so people had to watch from a distance of about 10 meters. There were only five people behind the ropes, one of them in a Peppa Pig costume who heckled the entire show. After just five minutes of performing, the crowd fell silent, and when another performer used inappropriate language, the show was cut short.

Can you tell us about your upcoming show, “(Role) Model”?
The show is about 55 minutes long, possibly longer with a larger audience. I want it to feel like a fun conversation with a toxic best friend. It also explores the idea of becoming an overnight sensation or gaining fame for dancing with your parents. I delve into the contrast between who I want to be and who others expect me to be, questioning why neither seems achievable.

Do you have any pre-show rituals?
I find myself repeating “I don’t want to do this” and “Why am I doing this?”

Complete creative control goes to…Abi Clarke. Photo: Dylan Woodley

What sparked your interest in comedy?
It seemed like the perfect blend of performing, making my friends laugh, creative freedom, and receiving positive feedback, which is awesome.

What inspired you to start sharing sketch comedy videos online?
Rejection from contests led me to create my own sketches to prove them wrong. I embraced the challenge of TikTok during lockdown as a way to pursue my comedy aspirations.

Is your first TikTok video still accessible?
Absolutely! It’s a masterpiece. Check out Window Cleaning Wake Up Video for a nostalgic TikTok experience.

With over 2 million followers, how do you navigate that level of popularity?
Understanding the authenticity of those numbers is tricky. It can be overwhelming, but on a daily basis, I try to forget about potential recognition in public. I maintain a character online, adding another layer of disguise.

What’s the oddest fan encounter you’ve had?
Some fans approach me as if we have a personal connection, mistaking me for someone else. It can lead to awkward moments of mistaken identity.

Which TikTok video are you most proud of?
I particularly cherish a video made with director Andrew Nolan. It was shot and edited to high standards, and the effort shows in the final product. Check out this video with 1.2 million likes on TikTok.

Have the opportunities from your online audience aided your comedy career?
Definitely. Despite initial skepticism towards my online work, having a large following has helped change perceptions. People are recognizing the importance of an online presence in today’s entertainment landscape.

What lessons have you learned from stand-up comedy?
Embracing imperfections can resonate with audiences.

What excites you the most right now?
I’m thrilled to be fully engaged in something I love — comedy. Plus, I’m appearing in a cat litter commercial next week, which means spending time with an adorable professional cat named Tom.

Source: www.theguardian.com

Can consciousness exist in the universe? It may seem impossible, but the math tells a different story.

They call it “the irrational validity of mathematics.” Physicist Eugene Wigner has the fascinating ability to describe and predict all kinds of natural phenomena, from the movements of planets and the strange behavior of fundamental particles to the effects of the universe, simply by manipulating numbers. He coined the term in the 1960s to summarize the facts. A collision between two black holes billions of light years away. Some are now wondering whether mathematics succeeds where all else fails, figuring out what it is that allows us to ponder the laws of nature in the first place.

That’s a big question. The question of how matter creates felt experiences is one of the most vexing problems we know of. And sure enough, the first fleshed-out mathematical model of consciousness sparked a huge debate about whether it could tell us anything meaningful. But as mathematicians strive to hone and expand the tools for looking deep within themselves, they are faced with some surprising conclusions.

In particular, they make clear that if we are to achieve an accurate account of consciousness, we must abandon our intuitions and realize that all kinds of inanimate objects, perhaps the entire universe, can be conscious. It seems to suggest that we may need to accept it. “This could be the beginning of a scientific revolution,” he says. Johannes KleinerMathematician at the Munich Center for Mathematics and Philosophy in Germany.

If so, it’s been going on for a long time. Philosophers have wondered about the nature of consciousness for thousands of years, but to little avail. Then half a century ago, biologists got involved. they discovered…

Article amended on May 4, 2020Fix: The campus of the Norwegian Inland University of Applied Sciences, where Hedda Hassel-Morch is based, has been updated to change the attribution of research on the effects of sleep or sedation on Phi.

Source: www.newscientist.com

OpenAI sued by The Intercept, Raw Story, and AlterNet for copyright infringement | Technology

Lawsuits have been brought against OpenAI and Microsoft by news publishers, alleging that their generative artificial intelligence products violate copyright laws by illegally using journalists’ copyrighted works. The Intercept, Raw Story, and Alternet filed suit in federal court in Manhattan, seeking compensation for the infringement.

Media outlets claim that OpenAI and Microsoft plagiarized copyrighted articles to develop ChatGPT, a prominent generative AI tool. They argue that ChatGPT ignores copyright, lacks proper attribution, and fails to alert users when using journalists’ copyrighted work to generate responses.

Raw Story and AlterNet CEO John Byrne stated, “Raw Story believes that news organizations must challenge OpenAI for breaking copyright laws and profiting from journalists’ hard work.” They emphasized the importance of diverse news outlets and the negative impact of unchecked violations on the industry.

The Intercept’s lawsuit names OpenAI and Microsoft as defendants, while the joint lawsuit by Raw Story and AlterNet focuses solely on OpenAI. The complaints are similar, with all three media outlets represented by the law firm Loevy & Loevy.

Byrne clarified that the lawsuits from Raw Story and AlterNet do not involve Microsoft directly but stem from a partnership with MSN. Both OpenAI and Microsoft have yet to comment on the allegations.

The lawsuits accuse the defendants of using copyrighted material to train ChatGPT without proper attribution, violating the Digital Millennium Copyright Act. The legal action is part of a series of lawsuits against OpenAI for alleged copyright infringement.

Concerns in the media industry about generative AI competing with traditional publishers have led to a wave of legal battles. The fear is that AI-generated content will erode advertising revenue and undermine the quality of online news.

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While some news organizations have sued OpenAI, others like Axel Springer have opted to collaborate by providing access to copyrighted material in exchange for financial rewards. The lawsuits seek damages and profits, with the New York Times lawsuit aiming for significant monetary compensation.

Source: www.theguardian.com