Loading video...

Video Failed to Load

Go Home

I find it wild that Physical Intelligence robotics models can work at all given that they only have a 1 second context length. As the robot is moving around a room and cleaning up a table, it only sees the current timestamp of images from the cameras (plus the...

126,066 views • 11 months ago •via X (Twitter)

0 Comments

No comments available

Comments from the original post will appear here

Related Videos

Blake Edwards on the conditions he laid out before accepting to direct "A Shot in the Dark" (1964): "'A Shot in the Dark' (1964) is nothing like Marcel Archard’s play, that’s for a start. I was asked to save the situation. They had quite a bit of money involved in this project. Peter Sellers was threatening to pull out because he didn’t like the screenplay. He said that the only way he would continue with the project would be if I took it over. I said that the only way I could possibly take it over, under such emergency conditions, would be that I would not be obliged to do anything like Archard’s play because a) I didn’t like it, b) I thought it was not a motion picture and c) I wasn’t ready to make a movie at that point. So they asked me what I wanted to do because the picture had to start in something like four weeks. I said that if they wanted me to save them, I’d have to take something with which I was familiar to begin with. I was familiar with the character of Clouseau. I needed a detective, somebody to solve a murder. I couldn’t throw the whole thing out. I had to use the idea that the maid was accused of killing the chaffeur and this had to be solved. So I thought that Peter Sellers was just the natural thing and that now I was going to try to be as broad with the character as I could be. “How far can I go now in terms of Inspector Clouseau?” I wrote the screenplay and was on the stage in four weeks with it. Fortunately, it turned out to be a reasonably funny movie. It proved something for me—that if a gag is well-designed you can pull it off." (Blake Edwards' interview with Jean-Francois Hauduroy, Cahiers du cinéma, 1966) P.S: On this 62 years ago, "A Shot in the Dark" (1964) premiered in New York City, USA.

DepressedBergman

20,460 views • 2 months ago

Peter Thiel gave a speech in a Hilton in 2010 that holds the keys to unlocking the source of many of America’s most severe problems. Key quote: “The task in this world… where politics has become so broken… is to find a way to escape from it. It’s not a way to fix it.” Palantir is currently tightening its grip around all of our data. Elon Musk is diverting untold billions into a Mars fantasy. All of the anarchist, antidemocratic ideas of the PayPal Mafia and the “Dark Enlightenment”—to use technology as an “escape”—were already well in process 15 years ago. —The internet as “alternate virtual reality” so you don’t have to “constantly convince people.” This is why he funded Satoshi (Bitcoin), MAGA3X (Pizzagate, Q), and pushed Musk to buy Twitter —PayPal (now blockchain/crypto/BTC) was to “overturn the monetary system” —“Escape” now more often referred to as “exit” —“Autonomous countries” now known as the “network state” JD Vance is a full member of the cult of the broligarchs. Unfortunately, this has been a very thorough coup and they have backup. It’s worth really absorbing what the living Antichrist, Peter Thiel, is saying here: “I don't think despair is the only answer. And I don't think, and it's because I don't think politics is the only way to go. And my thinking on this, you know, started to take a turn towards a more optimistic perspective in the mid to late '90s when I got involved in the tech boom in Silicon Valley. I ended up being the co-founder of a company called PayPal where -- and the initial founding vision was that we were going to use technology to change the whole world and basically overturn on the monetary system of the world. And, you know, we can debate on how much it succeeded or how little it succeeded. And there were parts of it that I think have worked, and parts of it were, you know, the jury is still out. But the basic idea was that we could never win an election on getting certain things. Because we were in such a small minority. But maybe you could actually unilaterally change the world without having to constantly convince people and beg people and plead with people who are never going to agree with you through a technological means. And this is where I think technology is this incredible alternative to politics. And, you know, there are a number of different technologies we can outline, but the task in this world where politics has become so broken and so dysfunctional is to find a way to escape from it. It's not a way to fix it. It is a way to escape. And there are, you know, a number of different options. I think the promising one of the 1990s and this last decade has been to escape onto the Internet and to sort of create an alternate virtual reality. Questions, of course, is still how does it intersect with the real world? There are, I think, escaping to outer space is a promise, although I think the space technology is not quite there. So I think that's sort of for the second half of the 21st century. I think we can try to, you know, create autonomous countries on oceans, underwater, all sorts of other spaces. But I think technology is the vehicle for how we should be looking to escape and move beyond politics as we find it today.”

Jim Stewartson, Decelerationist 🇨🇦🇺🇦🇺🇸

156,800 views • 1 year ago

On this day, 43 years ago, David Cronenberg's 'Videodrome' (1983) was released in the USA & Canada. Here is David Cronenberg explaining how he got the inspiration to make 'Videodrome' (1983): "'Videodrome' came out of two things, I suppose. The first was remembering, as a kid, watching TV late at night, and of course it was black and white television, and when all the regular stations would go off the air you could get these distant, strange stations that were probably all American. The airwaves would be quiet, so you could pick up and we had a rotating antennae, you know, so we could rotate the antennae on our house and get this stuff. But they were always very bad images, and they would fade in and out, and where they came from and what they were was very mysterious. That was many years before I was making movies, I was probably fourteen or fifteen or sixteen. Anyway, these create strange late-night channels, plus bits of Marshall McLuhan, plus I have no idea what, combined to the initial premise that someone been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote 'Videodrome', I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept. receives images on his television set that are fascinating to him, and seem to have an element of danger which makes them more fascinating. I don’t even think I knew, at the time that I started writing, that I would be examining the influence of television or that I would create a character based on Marshall McLuhan [O’Blivion], none of that was really in my mind to begin with. And I can’t really remember how I proposed this to the guys at Film Plan. It was the same thing, you know, the tax money was coming in, they wanted to do another movie, Pierre David and Victor Solnicki. I remember renting a room right across the hall from where Ron Sanders was editing, it was downtown near the waterfront. It was in an old building that had been rented, but it had sand-blasted brick in the Toronto style and beams. And there was nothing in the room but a table, a chair and an IBM Selectric, that was it. It was quite a big room, and I was just in the middle of it and I would go there every day and write. And that’s where I wrote Videodrome, I can remember that, but I don’t remember any more of the details other than just the normal way that things accumulate around a central concept." ('David Cronenberg: Interviews with Serge Grünberg', 2000)

DepressedBergman

44,258 views • 6 months ago