#AI-driven Interviews

[ourjobagency]

As job seekers, it's crucial to comprehend the multifaceted impact of AI on the job search process, both its positive and negative aspects.

To Know More About Career Visit Us:

[interviewaxis]

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Your Journey to Success

AI-driven mock interviews are redefining how candidates prepare for their career milestones. By integrating advanced analytics with personalized guidance, these tools empower you to overcome challenges and excel in interviews.

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[dearkulkarni]

Free digital content for civil engineers;

📢 Attention all Civil Engineering students! 📚🚧 Are you looking for free and valuable content to enhance your knowledge and excel in your studies? Look no further! We are thrilled to announce a special opportunity for you to access high-quality educational resources completely FREE of charge! 📌 From now until September 30, 2023, we are offering a fantastic collection of content specifically…

[monsterfactoryfanfic]

I'm transcribing an interview Aaron King did with me about Detente for the Ravenous and I had to stop and clip out their answer about what they think constitutes good writing. With the story breaking about NaNoWriMo supporting AI text generators, I was just reminded how fucking good it feels to hear someone talk like they give a shit about the craft.

Transcript below the readmore.

"The first time, no, the second time I dropped out of college, I moved to a different town and I was working at an old timey confectionery and ice cream place. So four to five days a week, I would go in and put on black pants and a nice white shirt and an apron and a paper hat. And I would either be scooping ice cream or washing dishes or helping the owner's dad, an 80 year old man named Oscar make homemade chocolates and stuff. So we were on a main floor of a building. We had the ice cream shop, we had a coffee shop, and then we had a basement where we stored all this bulk candy that we ordered from people. And we had the place where Oscar would make these chocolate turtles: almonds, caramel, chocolate. And one day Oscar was like, “Hey, look at this.” And he took me to the basement stairs and he pulled down this plywood slide that he had constructed on a hinge that would cover the right half of the stairs. And he took a big box that we just received and put it at the top of the slide and shoved it down. And he was like, “What do you think of that?” And I said, “Well, that saves me a lot of time carrying stuff down the stairs.” And he was like, “Yeah, every day you try to improve a little bit. You try to make this place a little better.”

And I just like was almost crying because this man that could you know, not lift anything was so old, was still just like making these weird little changes around here and thinking of other people other than him. That's one of the things that I just carry forward in this process of making stuff is just like… I will never be a Will Jobst. I will never be “insert name of my favorite writer here.” But I'm driven to make these things. There's no reason for me not to make them. I might as well try to get a little better every single day. And sometimes that means reading and sometimes that means sitting down and doing some hard self assessment and figuring out where the weaknesses are. Or how to get better or how best to spend my time. Sometimes it's fun. Sometimes it's really hard. But I don't… I'm not going to become fucking William Faulkner, you know? I'm not going to become Louise Erdrich. But that's poison brain, to try to like become and overcome them or whatever. I think it's just, if this is something I'm going to do, no matter what, I would like to get a little bit better at it every single time I practice it. Then hopefully someone will put that on my gravestone. “Tried a little bit every day. Here lies Aaron King.” "

[marmaladeinlemonade]

Ppl will complain about Pressure updates and devs while forgetting Pressure is NEW.

Ik tumblr has more users with common sense but the amount of tiktoks and tt users say that the game was at its PEAK two weeks after the game's release just bc you could climb Sebastian, he wasn't (visibly) married (it was always written into his character), and tolerated the players slightly more is INSANE.

Most games, at that, aren't at its peak gameplay and story a month after release!!

"The anti-climbing mechanic doesn't even fix anything!" Yeah because you climbed Sebastian several times over ofc at SOME point you're gonna get softlocked bro. Maybe try playing pressure for a reason aside from harassing seb.

I genuinely feel like the pressure fanbase tend to forget that Pressure is from roblox programmers in a small developing group. This isn't Hoyoverse or DevSisters where the game is fully polished with information on all characters and a finalized world building upon release because the company has more time, money, and skilled labor to develop that. It was made in ~1 year and a rushed release.

Not only that, but Pressure is a passion-project. It isn't driven by money, which means there's not much of an incentive to please the playerbase with fan service content that changes lore/characters so people can buy it. (Fan service as in any content made to make ppl happy) So, developers are going to choose what they want to do with the game bc they don't care whether or not you play. Zeal said so first thing in his interview with Breadian.

Amazing features that enrich gameplay and world building such as Sebastian killing walldwellers and the DiVine being able to kill you, Navi-AI turning into a new character, and several new room types are hinted to come to Pressure but nooo!!! Its somehow cooked and unsavable because of ONE form of characterization YOU deem incorrect not even knowing the character's lore. Right.

Edit: Pressure has a future as a roblox game that values storytelling and immersing the user in it's world. We need rblx games like it that put work over profit so people stay on the platform. Especially when older and new games have become money hungry over time.

Its really crazy how people be biting the hand that feeds them. Seb could easily be replaced with an expendable or unknown void like jeffery as a merchant npc if this continues. Online users will really be out her acting like the person who wrote and designed their favorite character is all of a sudden BAD!! And their favorite character is RUINED!!! And TAKEN AWAY FROM THEM!! Because their personality wasn't made to please the fanbase.

Yes, Sebastian hates you. Not pouty tsundere hates you, he is literally keeping you alive against his own will by mr. Lopee. He not tryna fuck bro 🔥

[reasonsforhope]

Determined to use her skills to fight inequality, South African computer scientist Raesetje Sefala set to work to build algorithms flagging poverty hotspots - developing datasets she hopes will help target aid, new housing, or clinics.

From crop analysis to medical diagnostics, artificial intelligence (AI) is already used in essential tasks worldwide, but Sefala and a growing number of fellow African developers are pioneering it to tackle their continent's particular challenges.

Local knowledge is vital for designing AI-driven solutions that work, Sefala said.

"If you don't have people with diverse experiences doing the research, it's easy to interpret the data in ways that will marginalise others," the 26-year old said from her home in Johannesburg.

Africa is the world's youngest and fastest-growing continent, and tech experts say young, home-grown AI developers have a vital role to play in designing applications to address local problems.

"For Africa to get out of poverty, it will take innovation and this can be revolutionary, because it's Africans doing things for Africa on their own," said Cina Lawson, Togo's minister of digital economy and transformation.

"We need to use cutting-edge solutions to our problems, because you don't solve problems in 2022 using methods of 20 years ago," Lawson told the Thomson Reuters Foundation in a video interview from the West African country.

Digital rights groups warn about AI's use in surveillance and the risk of discrimination, but Sefala said it can also be used to "serve the people behind the data points". ...

'Delivering Health'

As COVID-19 spread around the world in early 2020, government officials in Togo realized urgent action was needed to support informal workers who account for about 80% of the country's workforce, Lawson said.

"If you decide that everybody stays home, it means that this particular person isn't going to eat that day, it's as simple as that," she said.

In 10 days, the government built a mobile payment platform - called Novissi - to distribute cash to the vulnerable.

The government paired up with Innovations for Poverty Action (IPA) think tank and the University of California, Berkeley, to build a poverty map of Togo using satellite imagery.

Using algorithms with the support of GiveDirectly, a nonprofit that uses AI to distribute cash transfers, the recipients earning less than $1.25 per day and living in the poorest districts were identified for a direct cash transfer.

"We texted them saying if you need financial help, please register," Lawson said, adding that beneficiaries' consent and data privacy had been prioritized.

The entire program reached 920,000 beneficiaries in need.

"Machine learning has the advantage of reaching so many people in a very short time and delivering help when people need it most," said Caroline Teti, a Kenya-based GiveDirectly director.

'Zero Representation'

Aiming to boost discussion about AI in Africa, computer scientists Benjamin Rosman and Ulrich Paquet co-founded the Deep Learning Indaba - a week-long gathering that started in South Africa - together with other colleagues in 2017.

"You used to get to the top AI conferences and there was zero representation from Africa, both in terms of papers and people, so we're all about finding cost effective ways to build a community," Paquet said in a video call.

In 2019, 27 smaller Indabas - called IndabaX - were rolled out across the continent, with some events hosting as many as 300 participants.

One of these offshoots was IndabaX Uganda, where founder Bruno Ssekiwere said participants shared information on using AI for social issues such as improving agriculture and treating malaria.

Another outcome from the South African Indaba was Masakhane - an organization that uses open-source, machine learning to translate African languages not typically found in online programs such as Google Translate.

On their site, the founders speak about the South African philosophy of "Ubuntu" - a term generally meaning "humanity" - as part of their organization's values.

"This philosophy calls for collaboration and participation and community," reads their site, a philosophy that Ssekiwere, Paquet, and Rosman said has now become the driving value for AI research in Africa.

Inclusion

Now that Sefala has built a dataset of South Africa's suburbs and townships, she plans to collaborate with domain experts and communities to refine it, deepen inequality research and improve the algorithms.

"Making datasets easily available opens the door for new mechanisms and techniques for policy-making around desegregation, housing, and access to economic opportunity," she said.

African AI leaders say building more complete datasets will also help tackle biases baked into algorithms.

"Imagine rolling out Novissi in Benin, Burkina Faso, Ghana, Ivory Coast ... then the algorithm will be trained with understanding poverty in West Africa," Lawson said.

"If there are ever ways to fight bias in tech, it's by increasing diverse datasets ... we need to contribute more," she said.

But contributing more will require increased funding for African projects and wider access to computer science education and technology in general, Sefala said.

Despite such obstacles, Lawson said "technology will be Africa's savior".

"Let's use what is cutting edge and apply it straight away or as a continent we will never get out of poverty," she said. "It's really as simple as that."

-via Good Good Good, February 16, 2022

[felassan]

Article: 'Interview With Jennifer Hale At Fan Expo 2024 – Mass Effect’s FemShep Talks The War Against The Machines And Putting People Over Profits'

"“If you can put people before profits, we’ll be in good shape,” is what the iconic Canadian actor Jennifer Hale told me at Fan Expo 2024 when we were discussing Generative AI and the impact it can have on her industry."

Excerpt:

"Speaking of returning to characters, while Bioware is currently busy with something about some dragons, we know that soon after that more of the focus will be on what’s next in the Mass Effect franchise. So it was at least worth asking Shepherd herself, if the character would be making some kind of return. “I’ve heard nothing, I would be there with bells on and I think Mark [Meer] would too,” she tells me. I asked if she’d come back even if it’s in another role, should the character not make a return. “I would come back to Mass Effect in a paper bag,” she says laughing. So at least we know she’s on board for the project. Hopefully Bioware is listening. “Bioware is such an exciting company. That team breaks ground, they do things that are so beautiful and driven by a love of the creative process.”"

[source]

[cherrylng]

Foals interview - Yannis Philippakis [INROCK (April 2008)]

FOALS will be coming to Japan in May with their debut album “Antidotes”!!

"Looking back, I'm glad I caused the problems I caused, and I'm glad I didn't go to the classes I didn't go to."

Yannis Philippakis/Foals INTERVIEW: AI ANAZAWA

Foals are an Oxford band whose name means "Kouma (子馬)". Led by Yannis, who dropped out of Oxford University to concentrate on his band career, the five-piece sound like… If you try to categorise their sound, Yannis himself would probably say that he doesn't agree, but in reality, it's a sound that can't be categorised so easily. Dance, techno, Afrobeat, punk, and other elements are mixed together, and what's most noteworthy is Yannis's squeezed vocals between the deep bass and the fluttering high-pitched guitar sounds, creating an unbalanced and strange arrangement of sounds, but it's cool music that you can dance to, so it's understandable in a way that they're being called "the one to watch this year!" even if the band members don't like it. "Antidotes," produced by David Sitek of TV on the Radio, will be released on March 26th.

I understand you are in the USA at the moment. Yannis Philippakis (vo./g.): Yes, I'm in Seattle today, and I just got driven to this lake by the guys from Sub Pop (label), and it's beautiful here. There's a beach a little bit further out, and it's really nice and quiet.

Before Seattle, you played two concerts in New York, right? Yannis: Yeah, the Bowery Ballroom gig was a lot of fun. It was great to headline in that vein, and it was nice, or surprising, that it was almost sold out. The next day we played a show at a place in deep Brooklyn called the Silent Barn, which is like a house party. It's a place where normal kids live, and they put on their own shows, but it was pretty crazy and fun.

I heard Jimmy (Smith, guitar.) threw up on stage. Yannis: Yeah, at the Bowery Ballroom (laughs). It happens all the time. I go into a trance and I move around and I feel sick and I throw it up. Especially after a show. I don't know why… I don't have that kind of thing.

I see (laughs). Yannis: I bleed more often than I vomit.

It's a bit of a quandary as to whether it's better to throw up or to bleed. Yannis: I don't know. But bleeding is pretty annoying too. For me, I get injured all the time. I've broken my toe and recently I cut my eye during a show and it bled. Jimmy just had a tooth knocked out and he's just had it fixed.

It's rock ‘n’ roll. Yannis: I don't know about that. I'm sure it hurts.

"It's not like we're digging our brains out of our skulls and putting them on a table and putting glasses on them and making them write songs."

Your debut album, "Antidotes", is something different from any other band. Are you satisfied with the album yourself? Yannis: Yeah, we're happy with the album we wanted to make. Looking back, there are things we could have done a bit better, but we're happy with it.

I've been reading a lot of material and it's not clear whether you had David Sitek (TV on the Radio) produce it, or whether you didn't like what he did and had to redo it, but in fact David is ultimately credited as the producer of this album, right? Yannis: No, no, Dave (David) produced the album and he is definitely the producer. We did the whole album with him in New York. There's nothing we added, we just re-mixed it a bit, that's all. We just re-mixed it to sound more like what we did in New York. Dave did a lot of work on it at the mixing stage, so we reworked it so it was closer to the studio version that we were working on with him in New York.

So everyone was happy with the result? David was happy, the band was happy. Yannis: Yeah, well…… (whispering “tsk”).

Oh, why? Yannis: No, because people ask me about it all the time and I have to defend myself every time. He's a great producer, the mix he did was different from what we expected, it was like it wasn't our album anymore. The problem is psychological. We're a pretty sensitive bunch of people, and we made an album in New York with a lot of openness about ourselves, and we wanted to take the album back as our own… I mean, the album was so far from what we had in mind that we had to re-mix it.

I think it was good that you were able to re-mix it yourselves in the end. Yannis: Yeah, it was.

How was the recording in New York itself? Yannis: It was fun. We hardly left the studio. And Dave is a pretty intense guy… That's why I wanted to work with him in the first place. There were a lot of knives in the studio, and we all smoked weed, and yeah, it was good.

Haha… Did you have all the songs in place by the time of recording? Yannis: Yeah. We were going to record 14 songs, but we whittled it down to 11. So the extra ones were already written. The songs were already there, so Dave worked from that and he didn't mess with the structure of our songs. After we recorded it, we all added a little bit of this and a little bit of that.

In the process, you were able to adhere to the so-called Foals rules? Yannis: Which rules?

No chords, only notes above the twelfth fret on the guitar… That's what it says in the bio. Yannis: That's a bit of a joke. I mean, it's nothing serious at all.

But you don't actually use chords, do you? Yannis: Yes, we don't play chords, but it's not like it's an absolute rule against chords. It's not like we only play notes above the 12th fret, there are no rules. We just do what we want to do and if we think it sounds good, we use it. Then we didn't use chords. But that doesn't mean that if someone played a chord, we'd say, "No, no, that's not allowed!" (laughs).

So it's a myth that the rule was made in order to ease the members of the band from criticising each other too much in the beginning when they were making music? Yannis: We were never too critical of each other. It's just been the way of the band from the beginning, and we're comfortable with that way of doing things. And we're a lot more mature now. Also, the relationship between me and Jack (Bevan, drums.) has always been all about arguing. And when I say ‘argument’, I mean it in a positive way. That's why we're still friends. No one is complaining about the constant arguments or the criticism. It's just the way we function. We're just very self-critical.

David mentioned earlier that you never changed the structure of the songs, but that your song structures have a lot to do with your aesthetic, with your preference for methodical music. Yannis: It has something to do with that. I like to think about the structure and how the guitar should fit into it. It's like a craftsman's skill. But it doesn't mean that's the only way I like to do it or that's the only way I write songs. There seems to be a misconception out there that we only think about structure when we make music, but it's all about impulse. It's all intuitive. It's not like we're digging our brains out of our skulls and putting them on a desk and putting glasses on them and making them write songs. It's all instinctive intuition.

It's not like we're thinking about it. Yannis: Yeah, it seems like other people are trying to do that. But that's bullshit. Half the stuff they write about us is stuff we didn't even say. Even if we do say something, it's going to be misinterpreted… Anyway, what I'm saying is that musically, everything we do is instinctive.

"All my high school teachers said I'd never get into Oxford, so I got in just to piss them off."

So people misinterpret it and call you ‘math rock’ (experimental rock that incorporates odd time signatures, etc.) (laughs)? Yannis: There is no such thing. It's not real. We're a band that doesn't even know the scales, we don't know anything technical. We don't know the terminology, none of us have studied music properly. So it's kind of ironic, isn't it? We come from the same musical background as everyone else in Oxford. In Oxford, it's not normal to be in a pop band, and what's normal is to be in a band that's heavily influenced by post-hardcore bands. We grew up like that, as most of us did, because that's just the way it was. So no one really made an effort to learn to play a little bit differently on the guitar. It just came naturally.

What was your boyhood in Oxford like? What kind of kid were you? Yannis: I wonder what kind of kid I was… I was just a kid, I didn't have many friends, I was just a typical stoner kid who liked rock music. I didn't get on well with my parents, I was a problem child at school and didn't make many friends. Instead, the friends I made were like, "Let's go listen to Godspeed You Black Emperor instead of hanging out with the others," and we got high together. So I'm glad it turned out the way it did. Looking back, I'm glad I caused the problems I caused and I'm glad I didn't go to the classes I didn't go to.

I was just wondering, it's fine for you to talk about getting high with impunity, but in Japan, if you were caught in possession of such a thing, you'd be in big trouble. Yannis: No, I'm not taking it to Japan, so if that's what you're worried about, don't worry about it (laughs).

Hahaha. So, why did you bother to go to Oxford if you were going to drop out? Yannis: I went to Oxford to study and I dropped out for the band. I love reading books and there's no better university to do it at than there. I loved literature. It was my hometown and I like Oxford. And all my high school teachers said I'd never get in, so I got in just to piss them off.

When did you decide to put your life on the line for the band? Yannis: I mean, I still don't know that. We're doing this now, but I don't know when it's going to end. Next year we might be grilling hamburgers.

Maybe it won't happen next year, but I know what you mean. Yannis: Maybe not next year, but in years to come. It's not a sure thing to make a living from music unless you're George Michael or U2 or something like that. It's always been a precarious thing.

So it was a big decision to quit university to concentrate on your band, wasn't it? Yannis: Not really. I just wanted to play music all day, every day. There's nothing else I can do.

Now you're doing that, so that's good. Yannis: Yeah, it's going great so far and I'm happy with it. I like the album, and the whole reason I made the album was to communicate with all these people like you.

In the NME or something, you said that artists you admire put their backs into every single thing they create. I thought that was a romantic notion, do you yourself want that kind of life? Yannis: I never thought it was a particularly romantic way of thinking. I mean, it's a fact. I don't want to live that way, I just think it's a fact. Of course it depends on the process of creation. Because it's a process of devotion, isn't it? I'm in this band because I'm trying to get something out…

Who are the people you look up to, for example? Yannis: There are many. Charles Bukowski, Hemingway… Maybe that's why I feel so strongly about what I said earlier.

That's a typical example, surely. Yannis: Yeah. I don't know, but when I read books about these people, I sympathise with them and I get attached to them. I haven't read their proper biographies, but when you talk about who you admire from an artistic point of view, that's what happens.

Do you have any ambitions to write a book yourself? Yannis: I don't. When I read the writings of people like that, I think it's a talent given by God. I don't want to litter the world where such things exist with my dirty words.

As a book lover, can you recommend some books? Yannis: "Infinite Jest" by David Foster Wallace. It's a bit long, but it's a story about alcoholics and ex-alcoholics set in a tennis academy, and there's a child prodigy. It deals with film, media culture, and tennis, and it's just an exciting book. The other one is, of course, "The Great Gatsby" by Scott Fitzgerald.

Recorded in Seattle on February 17th

Translator's Note: Every once in a while, I scan and translate other bands and artists that I never listened to before, but I do it because I have mutuals who love these bands/artists. It's also a way for me to sort of refresh myself before getting back into translating my favourite bands/artists.

That said, I love how Deepl keeps constantly mistaking Yannis' name as 'Janice' lmao

Please do support me with my ko-fi! ☕

[mariacallous]

An election denial group is planning to create what one of its founders calls “a dropbox surveillance reality show” by donating “AI-driven” cameras to sheriffs in Wisconsin and other states to livestream drop boxes and remotely monitor people voting.

While WIRED found no evidence that the group has been able to recruit sheriffs or others to implement their scheme, local officials in charge of running elections in Wisconsin are concerned that round-the-clock surveillance could spur potential voter intimidation.

The “dropbox surveillance reality show” initiative is being led by Catherine Engelbrecht, who heads up the Texas-based True the Vote group, which has pushed election conspiracies for over a decade. This year, the group rolled out technology to allow anyone to file mass voter roll challenges. And last week, it launched a new app that will allow election deniers to post photos and videos from polling locations on November 5 suggesting evidence of election fraud.

But drop boxes, where voters can return their ballots, are a particular point of concern for Engelbrecht and her cofounder Gregg Phillips. The pair were behind the data provided to the debunked conspiracy film 2000 Mules, which alleged—without evidence—that so-called “mules” were used to stuff ballots into drop boxes ahead of the 2020 election, swinging the vote in favor of Joe Biden.

The distribution company behind the film earlier this year issued an apology and withdrew the film from circulation, after Engelbrecht and Phillips admitted to a judge in Georgia that they had no evidence to back up their claims.

Now, True the Vote is again boosting claims that drop boxes will be used to conduct widespread voter fraud ahead of the 2024 election, and their solution is to put cameras on those locations and let anyone watch 24/7 online. Wisconsin is a key swing state in the upcoming election: Biden won the state by 1 percent in 2020, after Trump had taken the state in 2016. In 2020, more than 500 drop boxes were set up in 430 communities across the state, but a 2022 ruling said unsupervised drop boxes outside of clerks offices were not legal. That ruling was overturned last July, and within days, Engelbrecht began speaking about monitoring drop boxes in Wisconsin.

“In 2020 and 2022, we learned more than we could have imagined about ballot drop box monitoring,” Engelbrecht said in a newsletter to supporters that WIRED reviewed. “Our plan involves AI-driven cameras and real-time livestreaming. We have tested the tech for over a year. We have our own data center, so the livestream cannot be ‘disappeared.’”

It’s unclear what exactly Engelbrecht means when she says “AI-driven,” and True the Vote did not respond to repeated requests for comment about this aspect of their project.

Phillips, in a post on Truth Social that has since been deleted, wrote that they were implementing a “a dropbox surveillance reality show.”

Engelbrecht first hinted at her plans in July, telling Christian nationalist prophet Lance Wallnau on his podcast that “there will be cheating” and that True the Vote would be “working with sheriffs to identify areas that sheriffs would be willing to allow us to grant them camera equipment that they can monitor and we can livestream.”

Engelbrecht has also said the group is looking to roll out drop box monitoring in multiple states, and mentioned Michigan as a possible location, though most of her focus appears to be on Wisconsin.

In her interview with Wallnau, Engelbrecht added that she was working with “three influential sheriffs” in Wisconsin, though she didn’t name them.

WIRED contacted two dozen sheriffs from Wisconsin’s largest counties, but did not find a single one who was going to be part of the monitoring effort. Engelbrecht and Truth the Vote did not respond to multiple requests for comment from WIRED to name the sheriffs who have agreed to be part of the program.

“True the Vote has reached out to the Sheriff's Office regarding ideas as they relate to election integrity and possible law violations,” deputy inspector Patrick R. Esser, from the Waukesha County Sheriff's Department, tells WIRED. “True the Vote proposed the idea of donating cameras to the sheriff's office to monitor election sites, however, the obstacles associated with that idea made it impractical.”

While most sheriff offices WIRED contacted did not respond to requests for comment, a number, including offices in Buffalo County and Polk County, said they had not even heard about the drop box initiative. “I was unaware of the plan and will not be participating,” Sheriff Mike Osmond from Buffalo County tells WIRED. “I am not sure if they are legal or not but do not have interest in implementing such a program.”

In her newsletter this week, Engelbrecht signaled that the group may have been unsuccessful in recruiting enough sheriffs, writing that they would provide cameras to “sheriffs where possible, other individuals where necessary.”

It’s also not clear that sheriffs would even have jurisdiction over the drop boxes because they are county officials and elections are not run by county officials in Wisconsin.

"We're a little different than some states,” says Ann Jacobs, chair of the Wisconsin Elections Commission, which is responsible for administering elections in the state. “In Wisconsin our elections are actually run at the municipal level. So we have 1,850, approximately, municipal clerks who run municipal elections.”

In the wake of the Supreme Court decision in July, the Wisconsin Electoral Commission put in place guidance for clerks on how to implement drop boxes. “The guidance does not prohibit livestreaming of ballot drop boxes, and there is no such prohibition in Wisconsin law,” Riley Vetterkind, the public information officer for the Wisconsin Electoral Commission tells WIRED.

However, if such monitoring interferes with voting, then that could result in criminal charges that carry penalties of up to six months in prison.

“It really depends on what they do with the information that they glean, and my hope is that they're not going to go out and attack voters, although I suspect that's exactly what's going to happen,” says Jacobs.

The claims made in the 2000 Mules conspiracy film centered on voters who placed more than one ballot in drop boxes. However, Jacobs points out that voters in Wisconsin are permitted to place more than one ballot in a drop box if they are doing so for a disabled or infirm family member, which could lead to tensions with drop box monitors should confusion about that allowance occur.

It is also unclear where these cameras would be located, given that they would need to be in situ permanently to provide 24-hour coverage. “What they can't do is go and just attach a camera to, you know, a city of Milwaukee library and focus it on a drop box,” says Jacobs. “I suppose in some places, maybe they could figure it out, but I don't think there's many places that I can think of where that would actually work.”

[ourjobagency]

As job seekers, it's crucial to comprehend the multifaceted impact of AI on the job search process, both its positive and negative aspects.

To Know More About Career Visit Us:

[cheddar-baby]

got a job interview and they wanted me to do their dumb ai driven speak into a camera and not talk to a real person pre-interview thing so i asked for accommodations to talk to a real person. They were really dragging their feet and replying back to me like 5 days after my last message. Finally set up a time to do the interview and i do it and the girl ends the call with btw we have filled the position already so we will not be going forward with your application but i can save this for if theres other positions open. Like ???? why did you waste my time then. I woke up early for this i could've done other things with my time but instead i had to sit around and wait for a pointless call and grovel for a job that i 100% could not even get in the first place. Vile behavior imo really rude.

[bifags]

i log on to the AI driven automated video interview platform. i bring up the first question; "What qualities make you the best fit for this position?". and then i kill myself in a manner so excessive as to coat the webcam lens in viscera

[jbird-the-manwich]

After attempted extraction it was revealed there was never any leftism in their bodies. Noted behavior appears to have been caused by peer pressure in a highly empathy selective environment exacerbated by exceptional weakness of character occurring in comorbidity with a praise kink and frequent reward in the form of a currency referred to by members of the culture interviewed in situ as 'notes'.

In short, members appear to have learned to mimic empathetic and or semiradical talking points without any understanding of their ethical or civic grounding by post-forward seeking of the afforementioned reward currency, consistent with results of previous experiments involving parrots wherein experimental reward currency on offer was french fries.

Contrary to hypothesis, original reward-seeking behavior seemed to be driven and regulated entirely by shame, contrasting sharply with the insistence given by members of the culture that shame was to be "unlearned".

In conclusion, other observations made in the course of the study were that they were not that fucking slick, their fanfiction sucked, and their art all looked like steven universe. This raises questions as to why the cultural boogeyman referred to as "ai scraping" was frequently warned of and met with such frequent demands of remuneration. Final analysis suggests they should all get the fuck over themselves in order for the culture to return to a more tenable, less meaninglessly performitive state.

[aurora-daily]

“For the creatives, we started to work with our singer, Aurora. She gave us a lot of input on making this AI-driven dialogue and managing the emotes coming from here. She also wrote the narrative behind each of the songs.We didn’t want to make a concert that was just playing an artist’s songs. We wanted the songs to form a story, and we wanted the story to touch people, to make them cry in a good way. We started to work on a narrative with the artist. We designed the emotional arc in the same way we designed Journey. We designed the metaphor of the concert to be a metaphor about the tension between humanity and nature, the push and pull between nature and people.When we worked with the artist, she would give us the story that she has in mind when she’s making the songs. We wanted to bring her soul onto the stage. A lot of the time I see these rather commercial virtual concerts, and I always feel like the character looks soulless. I don’t really feel like they’re on the stage. In order to make the artist feel like she’s present, I asked her to give us her idea of what the players would do in the stadium. I asked Aurora to give us the narrative that she imagined would happen alongside each of the song. It would have her DNA. Then I would weave these stories together into an emotional arc. We used to worship nature, and we’re the masters of nature now. That’s the narrative. Then we play it out through all of these audience interactions.To me, this is an interactive concert. The audience shouldn’t just sit there and watch. They need to participate in the musical journey. The orange part here is the audience. They represent different aspects of nature throughout the concert. In the end, they become part of nature with Aurora, who represents a goddess of nature. It was a long process to creatively find where we are today. It’s not just a technical challenge. It’s a powerful piece. Emotionally, we were aiming for a high bar.I can show you the climax here, where everybody dies and is brought back to life. They’re like butterflies. This is 3,000 butterflies, and the sun rises, which brings back Aurora, who represents Mother Nature. A lot of people were crying. You can see the emotes from the players. Then we have this giant version of Aurora. Instead of just jumping around, she reaches out and touches you and holds you, like your mother. A lot of the players, when they played this part of the concert, they were crying. It reminds them of their mothers, the love they have.”

Jenova Chen on working with AURORA for Sky’s “Concert in the Light” in  GamesBeat interview (December 26th, 2022)

photos @ Pukkelpop by acalltothedreamers // 20.08.2022 // Hasselt, Belgium

[maristelina]

What is the "unassuming yet heartfelt expressions of love" included in Mahiru's (CV: Miho Okasaki) first trial song "This Is How To Be In Love With You"? ――『MILGRAM -ミルグラム-』Music Interview｜’This Is How To Be In Love With You’

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Translator Notes:

Mahiru's song title is "Ai Nan Desu Yo!" (It's love!). This is important context later for some of Okasaki's answers.

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DECO*27, a leading creator among Vocaloid artists, and Takuya Yamanaka, known for his style of exploring human psychology, have launched a collaborative music video project called "MILGRAM - ミルグラム -". The project features a joint original story and production, and the music video - which is crucial to uncovering the prisoners' crimes - has now been released.

Animate Times is conducting email interviews with voice actors participating in the project! In the second half of the sixth interview, we spoke with Miho Okasaki, who plays the role of Mahiru. This time, we asked about Mahiru's first trial song "This Is How To Be In Love With You," and the hints and points to uncover Mahiru's feelings in the lyrics when singing.

―― Mahiru's first trial song "This Is How To Be In Love With You" has finally been released. Please tell us your first impression of the song title.

Mahiru’s Actor: Miho Okasaki (Okasaki hereafter): 

In my opinion, Mahiru is a girl who fearlessly uses a straightforward word like "Ainan desu yo! (“It’s love!)" in the title of her song without any reservations, and that's what makes her stand out in a positive way.

―― It’s a song with a strong message. Were there any particular details in the lyrics which were of interest to you? Please also tell us if you have a favorite line.

Okasaki: "I often come across the lyrics '(…shite shimau kedo) ai nan desu yo', and the words 'It's because of Mahiru's love' felt like an expression unique to a girl, which I thought was really cute."

Translator Notes: This requires a bit of explanation.

The phrase 「（……してしまうけど）愛なんですよ」 can be translated as "It's love, even though (I'm doing something I shouldn't be doing)." The ellipsis (…) represents the action that Mahiru is referring to, which is not explicitly stated but implied. The phrase emphasizes that even though the action may be seen as inappropriate or shameful, it is ultimately driven by love.

Let's take this verse here as an example: Giving you love to the point of pulling you down It's just because I still get worried, please forgive me Even when I test you, even the times we do the breakup ritual, Is because I love you

This verse expresses a kind of intense and possessive love, where Mahiru is willing to go to great lengths to show their affection for the other person. They mention giving "love to the point of pulling you down," which suggests that their love is so strong that it may feel overwhelming or suffocating to the other person.

Mahiru also acknowledges that their behavior may not always be rational, and that they may worry excessively about their partner. They apologize for this indicating that they recognize that their actions may not always be healthy for the relationship.

The reference to "testing" the other person and "doing the breakup ritual" could suggest that Mahiru sometimes creates conflict or tension in the relationship, perhaps as a way of seeking reassurance or attention from their partner. However, despite these challenges, Mahiru asserts that their love for the other person is the reason for their behavior.

UNASSUMING YET HEARTFELT EXPRESSIONS OF LOVE

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―― Do you have any specific points or aspects that you focused on or paid particular attention to when singing?

Okasaki: During the A melody, the rhythm of the song is fun and exciting. It was a part that I really liked because it was packed with Mahiru's feelings. So, I sang each word with my heart and enjoyed it.

―― Did your impression of the character Mahiru change when you first saw the lyrics or after you finished singing the song?

Okasaki: There are parts where strong expressions of love are included in the lyrics, which might be missed as they sound casual with the cute melody. At first, I thought, "Can I overlook these words?" However, after singing the song, I completely became immersed in Mahiru's feelings of "It's love, you know?" (laughs).

―― The viewer’s votes will affect next season’s songs. Please share your enthusiasm for the next song with us.

Okasaki: I am really excited to see what kind of song will be next, as it will depend on the users' votes. Whatever the result may be, I will sing with all my heart, right next to Mahiru-chan.