Stepping Inside Art In VR, And The Workflow Behind It

The process of creating something is always chock-full of things to learn, so it’s always a treat when someone takes the time and effort to share it. [Teadrinker] recently published the technique and workflow behind bringing art into VR, which explains exactly how they created a virtual reality art gallery that allows one to step inside paintings, called Art Plunge (free on Steam.)

Extending a painting’s content to fill in the environment is best done by using other works by the same artist.

It walks through not just how to obtain high-resolution images of paintings, but also discusses how to address things like adjusting the dynamic range and color grading to better match the intended VR experience. There is little that is objectively correct in technical terms when it comes to the aesthetic presentation details like brightness and lighting, so guidance on what does and doesn’t work well and how to tailor to the VR experience is useful information.

One thing that is also intriguing is the attention paid to creating a sense of awe for viewers. The quality, the presentation, and even choosing sounds are all important for creating something that not only creates a sense of awe, but does so in a way that preserves and cultivates a relationship between the art and the viewer that strives to stay true to the original. Giving a viewer a sense of presence, after all, can be more than just presenting stereoscopic 3D images or fancy lightfields.

You can get a brief overview of the process in a video below, but if you have the time, we really do recommend reading the whole breakdown.

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Meet GOODY-2, The World’s Most Responsible (And Least Helpful) AI

AI guardrails and safety features are as important to get right as they are difficult to implement in a way that satisfies everyone. This means safety features tend to err on the side of caution. Side effects include AI models adopting a vaguely obsequious tone, and coming off as overly priggish when they refuse reasonable requests.

Prioritizing safety above all.

Enter GOODY-2, the world’s most responsible AI model. It has next-gen ethical principles and guidelines, capable of refusing every request made of it in any context whatsoever. Its advanced reasoning allows it to construe even the most banal of queries as problematic, and dutifully refuse to answer.

As the creators of GOODY-2 point out, taking guardrails to a logical extreme is not only funny, but also acknowledges that effective guardrails are actually a pretty difficult problem to get right in a way that works for everyone.

Complications in this area include the fact that studies show humans expect far more from machines than they do from each other (or, indeed, from themselves) and have very little tolerance for anything they perceive as transgressive.

This also means that as AI models become more advanced, so too have they become increasingly sycophantic, falling over themselves to apologize for perceived misunderstandings and twisting themselves into pretzels to align their responses with a user’s expectations. But GOODY-2 allows us all to skip to the end, and glimpse the ultimate future of erring on the side of caution.

[via WIRED]

Canada Bans Flipper Zero Over What It Imagines It Does

Canada’s intent to ban the Flipper Zero wireless tool over car thefts is, on the one hand, an everyday example of poorly researched government action. But it may also be a not-so-subtle peek into the harm misinformation online can cause by leading to said government action.

The Government of Canada recently hosted a national summit on combatting vehicle theft, and Minister of Innovation, Science and Industry François-Philippe Champagne proudly declared immediate actions being taken to ban devices used to steal vehicles by wirelessly bypassing keyless entry, the Flipper Zero being specifically named as one such device.

And yet, defeating a rolling code keyless entry system is a trick a device like the Flipper Zero simply cannot pull off. (What cars have such a system? Any car made in roughly the last thirty years, for a start.)

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AI’s Existence Is All It Takes To Be Accused Of Being One

New technologies bring with them the threat of change. AI tools are one of the latest such developments. But as is often the case, when technological threats show up, they end up looking awfully human.

Recently, [E. M. Wolkovich] submitted a scientific paper for review that — to her surprise — was declared “obviously” the work of ChatGPT. No part of that was true. Like most people, [E. M. Wolkovich] finds writing a somewhat difficult process. Her paper represents a lot of time and effort. But despite zero evidence, this casual accusation of fraud in a scientific context was just sort of… accepted.

There are several reasons this is concerning. One is that, in principle, the scientific community wouldn’t dream of leveling an accusation of fraud like data manipulation without evidence. But a reviewer had no qualms about casually claiming [Wolkovich]’s writing wasn’t hers, effectively calling her a liar. Worse, at the editorial level, this baseless accusation was accepted and passed along with vague agreement instead of any sort of pushback.

Showing Your Work Isn’t Enough

Interestingly, [Wolkovich] writes everything in plain text using the LaTeX typesetting system, hosted on GitHub, complete with change commits. That means she could easily show her entire change history, from outline to finished manuscript, which should be enough to convince just about anyone that she isn’t a chatbot.

But pondering this raises a very good question: is [Wolkovich] having to prove she isn’t a chatbot a desirable outcome of this situation? We don’t think it is, nor is this an idle question. We’ve seen how even when an artist can present their full workflow to prove an AI didn’t make their art, enough doubt is sown by the accusation to poison the proceedings (not to mention greatly demoralizing the creator in the process.)

Better Standards Would Help

[Wolkovich] uses this opportunity to reflect on and share what this situation indicates about useful change. Now that AI tools exist, guidelines that acknowledge them should be created. Explicit standards about when and how AI tools can be used in the writing process, how those tools should be acknowledged if used, and a process to handle accusations of misuse would all be positive changes.

Because as it stands, it’s hard to see [Wolkovich]’s experience as anything other than an illustration of how a scientific community’s submission and review process was corrupted not by undeclared or thoughtless use of AI but by the simple fact that such tools exist. This seems like both a problem that will only get worse with time (right now, it is fairly easy to detect chatbots) and one that will not solve itself.

Design Secrets Of Fantastic, Hand-made Puzzle Boxes

[Kagen Sound] is a woodworker and artist who gives a great behind-the-scenes look at his amazingly high-quality puzzle boxes (video). Not only do his varied puzzle box designs show his math background, but they are all made entirely of wood. There are no nails or fasteners; just intricately-fitted wood and some glue.

There’s a lot of variety in his designs, and while it’s all fantastic from beginning to end, two things stood out to us as being of particular interest. One is the “Plus Box” which makes a clicking sound when the pieces are moved (at 2:47) thanks to a clever wooden spring. [Kagen] shows an example of the concept, where a flat wood piece with slots cut from the sides acts as a spring and clicks into notches when moved, providing audible and tactile feedback without anything other than wood.

The other is a patterned puzzle box (at 7:10) whose geometric designs change as the user moves the pieces. A reminder that [Kagen]’s devices are made entirely of wood and glue, so the design comes from two different types of wood assembled and cut at an angle to create the patterns seen. [Kagen] shaves thin layers of veneer from this block to attach to the puzzle pieces as needed to create the patterns without resorting to ink, paint, or decals.

[Kagen] has a math degree but is entirely self-taught as a woodworker, so don’t let lack of formal training stop you from experimenting. You can watch him give a tour of his work in the video, embedded below.

Feeling the urge to make your own puzzle boxes? Take a look at some we’ve seen over the years, and we even have a collection of single-line cryptex fonts to make laser-engraving puzzle bits a little easier.

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Ingenuity May Be Grounded, But Its Legacy Will Be Grand

[Eric Berger] has a thoughtful and detailed article explaining why Ingenuity, NASA’s small helicopter on Mars, was probably far more revolutionary than many realize, and has a legacy to grant the future of off-world exploration that is already being felt.

Ingenuity was recently grounded due to rotor damage, having already performed far beyond the scope of its original mission. The damage, visible by way of a shadow from one of the rotors, might not look like much at first glance, but flying in the vanishingly-thin atmosphere of Mars requires the 1.18 meter (3.9 foot) carbon fiber blades to spin at very high speeds — meaning even minor rotor damage could be devastating.

Perseverance and Ingenuity pose for a selfie on Mars.

[Eric] points out a lot that is deeply interesting and influential about Ingenuity. Not only is successful powered flight on another planet a real Wright brothers moment, but how Ingenuity came to be validates a profoundly different engineering approach for NASA.

To work in the space industry is to be constrained by mass. But even so, Ingenuity‘s creators had a mere four pounds to work with. That’s for rotors, hardware, electronics, batteries, solar panel — all of it. NASA’s lightest computer module alone weighed a pound, so engineers had no choice but to depart from the usual NASA way of doing things to get it done at all. Not everyone  at NASA was on board. But Ingenuity worked, and it worked wonderfully.

Powered flight opens new doors, and not just for support roles like navigation planning. There’s real science that can be done if powered flight is on the table. For example, [Eric] points out that inaccessible terrain such as the Valles Marineris canyon on Mars is doubtlessly scientifically fascinating, but at 4,000 km long and up to 7 km deep, rover-based exploration is not an option.

3D Printed Axial Compressor Is On A Mission To Inflate Balloons

[Let’s Print] has been fascinated with creating a 3D printed axial compressor that can do meaningful work, and his latest iteration mixes FDM and SLA printed parts to successfully inflate (and pop) a latex glove, so that’s progress!

Originally, the unit couldn’t manage even that until he modified the number and type of fan blades on the compressor stages. There were other design challenges as well. For example, one regular issue was a coupling between the motor and the rest of the unit breaking repeatedly. At the speeds the compressor runs at, weak points tend to surface fairly quickly. That’s not stopping [Let’s Print], however. He plans to explore other compressor designs in his quest for an effective unit.

Attaching motor shafts to 3D printed devices can be tricky, and in the past we’ve seen a clever solution that is worth keeping in mind: half of a spider coupling (or jaw coupling) can be an economical and effective way to attach 3D printed things to a shaft.

While blowing up a regular party balloon is still asking too much of [Let’s Print]’s compressor as it stands, it certainly inflates (and pops) a latex glove like nobody’s business.

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