#LM Studio

[abaditya]

Dubai Diaries: Running LLMs & Stable Diffusion locally on a gaming laptop

Gaming laptops are not just for gaming, especially if they have one of the recent Nvidia GPUs #AI #GenAI #Laptop #Experiments #LLM #local-computing

I previously wrote about the second device that I got about coming to Dubai, but not much about the first one which was a gaming laptop. So here’s a bit about the laptop which also doubles as a local AI driver thanks to the Nvidia GPU (the RTX3060). Soon after getting it back in 2022, I tried running the Stable Diffusion models and it was quite a bit of an upgrade over my original attempt on a…

[corbindavenport]

Alt Text Creator 1.2 is now available!

Earlier this year, I released Alt Text Creator, a browser extension that can generate alternative text for images by right-clicking them, using OpenAI's GPT-4 with Vision model. The new v1.2 update is now rolling out, with support for OpenAI's newer AI models and a new custom server option.

Alt Text Creator can now use OpenAI's latest GPT-4o Mini or GPT-4o AI models for processing images, which are faster and cheaper than the original GPT-4 with Vision model that the extension previously used (and will soon be deprecated by OpenAI). You should be able to generate alt text for several images with less than $0.01 in API billing. Alt Text Creator still uses an API key provided by the user, and uses the low resolution option, so it runs at the lowest possible cost with the user's own API billing.

This update also introduces the ability to use a custom server instead of OpenAI. The LM Studio desktop application now supports downloading AI models with vision abilities to run locally, and can enable a web server to interact with the AI model using an OpenAI-like API. Alt Text Creator can now connect to that server (and theoretically other similar API limitations), allowing you to create alt text entirely on-device without paying OpenAI for API access.

The feature is a bit complicated to set up, is slower than OpenAI's API (unless you have an incredibly powerful PC), and requires leaving LM Studio open, so I don't expect many people will use this option for now. I primarily tested it with the Llava 1.5 7B model on a 16GB M1 Mac Mini, and it was about half the speed of an OpenAI request (8 vs 4 seconds for one example) while having generally lower-quality results.

You can download Alt Text Creator for Chrome and Firefox, and the source code is on GitHub. I still want to look into support for other AI models, like Google's Gemini, and the option for the user to change the prompt, but I wanted to get these changes out soon before GPT-4 Vision was deprecated.

Download for Google Chrome 

Download for Mozilla Firefox 

[iilmunchkiin]

"Tumor"

[cieuxgris]

audrey hepburn || the wind rises (2013) || marilyn monroe, 1955 || back to december || sylvia plath || audrey hepburn, 1958 || elizabeth taylor || katharine hepburn, 1934 || l.m. montgomery

[ondigitalwings]

My first (that isn’t using a sticker or a solid recolor) Design Studio attempt, in the form of faux-merch for a very beloved musician, Crywolf. The void eye is a logo/sigil of his that I did my best to recreate on a phone! The lyrics (I wanted you to know/you were the end of me) on the sleeves are my design idea but his words, from this song, check it out:

I made this same one in black writing on ivory so my characters can sport it everywhere :P love the custom drawings for being reusable that way! Now if they just wouldn’t have watermarks on your own designs…

(That’s my other point of pride — no editing out of that in this shoot, just angling to get as little watermark as possible while still getting cool shots that show the design.)

[psalm22-6]

French dignitaries and stars of stage, screen and TV will join at the Rivoli Theatre here tomorrow evening in a special ceremony marking the opening of "Les Miserables," and the reopening of the theatre. 

Participating in the salute to the 150th anniversary of Victor Hugo's birth will be Jean F. Charvet, acting French Consul General in New York, and French United Nations representatives with guests from other international delegations.

Montague Salmon, managing director of the Rivoli Theatre here, will be breaking bread with representatives of the French government and other distinguished guests at the opening of "Les Miserables" on Broadway today, and such a loaf of bread ! It took 10 of Hanscom's bakers 14 hours to ferment and mix the gigantic loaf of French bread, which measures eight feet long, weighs 30 pounds and required three hours baking time. Experts estimate it would require an average American four months to consume the loaf, but an average Frenchman, such as Jean Valjean, who was condemned to the galleys for the theft of a loaf of bread, might eat this enormous loaf in a single month.

Also in attendance at the premier were actors Dan Dailey, Constance Smith, Jayne Meadows, “Gregory,” and Kyle Macdonnell. Assuming this is the same premier event, the photos above show Gene Raymond and Jeanette MacDonald (left), Richard Barthelmess and Jessica Stewart Sargent (middle), and Joan Bennett and Gene Markey (right).  Sources: the Motion Picture Daily, 13 August 1952 / The Film Bulletin, 11 August 1952 / the Modern Screen, July 1952

[angleformation]

Tuto Facile : LM Studio + LLM Ultra Léger - ChatGPT en Local et Gratuit

[ndconceptarchive]

Her Interactive - Megan Gaiser and Robert Riedl interview for Adventure Gamers

It is somewhat rare to find a full-blown interview from Her Interactive done with a focus on a particular game, but on May 11, 2005, Adventure Gamers published an interview with Robert Ridel and Megan Gaiser done in promotion for Secret of the Old Clock.

You can read it at the link above, or here below. Some interesting notes from this interview:

During Stay Tuned for Danger, the development team visited a local TV station to get references.

Secret of the Old Clock featured Kevin Manthei bringing in live performers instead of the music being mixed in studio.

An explanation as to why the games were made with 2D backgrounds and 3D characters

Some of the background on Her Interactive as a company

Written by Laura MacDonald — May 11, 2005

We have another mystery. The place: Titusville. Nancy Drew, famous girl sleuth, is on her way to see Emily Crandall, an old friend. Emily has inherited the charming Lilac Inn, but all is not picture perfect. Instead, things are terribly wrong, and after receiving a desperate call for help, Nancy is soon speeding along in her blue roadster, blonde hair shining, on her way to her very first mystery.

Wait a minute…blonde hair?…roadster? Yes, you heard right. Unlike the previous games in this successful adventure series, this isn't the Nancy of today -- this is the original girl detective in the 1930s. Nancy made her book debut in a story called The Secret of the Old Clock, and this year, she is celebrating 75 years of sleuthing through danger and mystery. We think that deserves a little extra attention, and who better to talk about all things Nancy Drew than Her Interactive's CEO, Megan Gaiser, and Executive Producer, Robert Riedl.

LM: Hi, Megan. It is a pleasure to talk with you today.

MG: Nice to be here, Laura. Robert [Riedl] is also here with me for the interview. He heads up product development and designed many of our products as well.

LM: Hi, Robert! Megan, I wanted to start by asking you to touch briefly on your background. You started out in documentary film making; how did that lead you into the game industry?

MG: Yes, I was an editor and producer of educational documentaries for 11 years in Washington D.C., which is an interesting background to take into gaming. One of the reasons I wanted to get into multi-media was to get out of the editing room. I was intrigued by the non-linear nature of multi-media. There are also a lot of similarities between creating games and film, which we apply to creating the Nancy Drew games. The content needs to be compelling, with rich character development. The music and the environment all have to contribute. It is this synergy of components that have made the games work and make it easy to become immersed in the world.

As an editor and producer, I became really intrigued with the fact that there are so many different kinds of women. The same should hold true in the games offered to the female market. [At Her Interactive]... we are always saying there needs to be as many types of entertainment for girls and women as there are preferences. They tend to stereotype and pigeonhole women, which is why there's always been such a struggle to prove this market. Which is kind of ridiculous, because we're, you know, half the population. They target females for books and music, so why would they stop at computers?

LM: I know Her Interactive started independently, then you signed with DreamCatcher. Later you pulled back out and signed what looks like a one-game deal with Atari. Then you went the self-publishing route. I noticed a few retailers have Atari listed as your publisher. Are you still self-publishing?

MG: Just to back up on the story, we published our first Nancy Drew game in 1998. We had taken it to all the publishers and they said, "No, we aren't going to take it because all females are computer-phobic and they will never play video games."

They all thought there was no market for females in the interactive arts and entertainment media market. We were at a critical point as a company and we believed in our game. So, we decided if we can't get in the front door, we'll go around the back. We went to Amazon, learned how to self-publish, and the games took off. A high point was when the NY Times called that first game the "Un-Barbie of computer games." After that, our games were awarded consecutive gold Parents' Choice awards. Suddenly, those same publishers came back to us wanting to sign a retail deal. In 2000, we signed a publishing arrangement with DreamCatcher. Two years later, we made the giant step of becoming the retail publisher of our own games. That was the key right there, and was a huge step for the company. We selected Atari as our distributor.

LM: So you used them as a distributor only.

MG: That is what they are this year as well. We haven't changed that. We are still the publisher and this is a continuation of that same arrangement.

LM: Nancy Drew has appeared in books, but under a different character name, in countries other than the U.S. She has a similar fan base there as well. Have you considered selling the games in those countries?

MG: We actually have. She is the most popular in Sweden, where her name is Kitty Drew. In France, she appears as Alice Roy. We are speaking with people about localizing the series to France right now. We are doing one territory at a time, because the cost of localization is so high. Before you put resources and money behind localization, you want to make sure the move makes sense. France will probably be the first, and then Sweden.

LM: I know it is the 75th anniversary for the series, which began when The Secret of the Old Clock was first published in 1930. I assume that is why you are doing a classic Nancy Drew mystery and using the very first one ever written as the inspiration for this game. For that game, how did you handle the time period? Where did you go for your research, and what did you look to for inspiration in recreating the 1930s world of Nancy Drew?

RR: Like we would do with any character, we do a lot of research into the geography, into historical aspects. We would go to the library and get visual references there, as well as information on the era. We try to go to locations, as well, that we can use as inspiration for puzzles or content. For example, with Stay Tuned For Danger, we went to a local television station and got reference material from there. We always try to give a really good sense of the era or the locale. Not only with visual aspects, but the language, scenes, puzzle content, etc.

LM: Are you using the same source for your music?

RR: We are using Kevin Manthei, who has been our composer ever since the first installment. For this title, he brought in live performers.

LM: The music for this game will be recorded live instead of being mixed in the studio? That's great. Any chance of a music CD available from the game?

MG: We are looking into that!

LM: On the other upcoming game, there has been some mild confusion about what it is called. What exactly is the title of the upcoming Hardy Boys/Nancy Drew game?

MG: Last Train To Blue Moon Canyon.

LM: Will the Hardy Boys be physically present in the game?

MG: Yes, they will.

LM: Will we play multiple characters or as Nancy Drew, in first-person only?

RR: Stay tuned! [laughter]

LM: Okay, I can see that information isn't for public consumption yet. When can we expect to see these two new titles released?

MG: The Secret of the Old Clock is scheduled to ship in late July this year, and Last Train To Blue Moon Canyon is scheduled in late September.

LM: You have always tweaked your games a little bit; experimented here and there. You also started having some "actiony" feeling moments or more dynamic timed challenges in them. Are we going to see challenges like this, and possibly a bit more of them in the Hardy Boys game?

RR: We always try to challenge our players a little bit with each new game. So we will venture out and mix it up a little bit, so it doesn't feel stale or formulaic. We are trying to do something a little bit different and see how it goes, and also improve upon the product as well. Because you may have a good idea, but you just have to get it right.

LM: Blackmoor Manor had a more non-linear flow to the gameplay than previous games. Are we going to see this model of gameplay repeated in either or both of the new titles?

RR: It is purely a style preference. We have different designers coming into play and marketing has different requirements. In Curse, for example, we wanted it to be really challenging. What is the mood; what are the five main elements we want to convey with this game, and then that dictate our choices in all aspects of the gameplay. Complexity of puzzles, narrative, the locations... how we treat the location. Is the emotive component light or more intense? Is it a gothic horror or is more of a caper? And it is nice to do this, so we have a mix. We want people to be surprised by the title. So they think "wow, this has a feel of novelty."

LM: How do you decide what the next title is going to do?

RR: It is really the lead designer's responsibility and choice on how they do that. Everyone does give input. The designer will say, "I am going to choose the next game. Give me input as to what you would like to see in environments, type of artwork, and the particular era." We get these parameters and people will give out titles. There are certain perennial titles that come up every time we look at the books. The lead designer will read through a lot of stories. Everyone in the office will have their favorite(s). The designer will also have his or her favorite. Then we have a meeting with our advisory panel. We will say, "Okay, pitch an idea, come to the meeting with a book that you think would be really neat." From all that, we whittle it down to one selection. We take the top five choices and submit them to Megan, marketing, and the lead designer. Also, what we have done in the past affects the choice as well.

LM: That makes sense, to guarantee a mix of the plots from game to game. I know you have a teen advisory board that you use in-house. Who is on it? How was it formed?

RR: They are local, but we do have some who are out of state. We sort of advertise it on our site. It is comprised of about 40 people. They correspond roughly with what our current market is. So 30% are adult women. We also have some men and boys on it, as well. I see them as almost another department of our company. It has become a source for inspiration and ideas.

LM: About your publishing schedule, it seems like you keep to a very steady routine of two games each year -- the summer being Nancy Drew lite and the fall title providing the more challenging experience. Any intentions of expanding the production past these two games a year?

MG: We are looking to expand the product offering with another series of games. We are in talks with a couple of different licensors and we're on the verge of making that step.

LM: Any hints in what direction this is?

MG: We can't discuss it in more detail until it's a done deal.

LM: While some developers have made the move into 3D, you have made a design choice to stick with 2D backgrounds and 3D characters; the so-called 2.5D look. Why is this?

RR: The original impetus for going into 2D backgrounds is you get a lot more detail out of the artwork. Even now, when you are in a 3D world, you can't get that same detail to the environment. Also the type of play lends itself better to the 2D environments, because in a 3D world it is all about movement. Action or movement is a very important component to the gameplay. You are running away or you're chasing something. In our games, our players say they like to kind of graze. They like to take their time without feeling pressured. They want to amble about in the environments and explore. They want to become totally engrossed in the environment. So for that reason, we went with 2D and continue to use it. The other problem is that 3D doesn't actually work with this sort of gameplay and our market. Those that have gone with 3D, there is a lot of backlash against it. Broken Sword 3, URU… I just don't see the benefit to going to a 3D engine at this time.

LM: E3 is on the horizon next week, so I wanted to ask you about that. I noticed that the German equivalent in Liepseig has a much different approach than E3. They have a much more family-focused presentation vs. E3, which is pretty wild and woolly and at times seems more of a industry party or club mentality. I wanted to toss out a quote from a recent article on the show in LA and get your reaction.

"E3 should be about innovation; it should be about the games. Let's make sure the voice E3 is supposed to promote is not lost in the fury of silicon and peep shows."

Any reaction or thoughts on that sentiment?

MG: Actually, it is interesting you brought that up because we have been kicking it around here. The issue of responsibility for the content of games we develop is getting a lot of attention.

RR: I think E3 has gotten a lot better. GOD (Gathering of Developers) no longer has the lesbian nuns across from Staples anymore. I kind of have mixed feelings. On one hand, our hardcore gamers are young men and a lot of the content caters towards them. I think that's okay. There are other things being pushed at E3 like the Nintendo display and the various attendees located in Kentia Hall. Those guys can't afford the booth babes and there's a lot of interesting things going on down there. Sometimes you can find a gem in the rough.

MG: All I can say to that is tradeshows -- any tradeshow -- are all about glitz and over-the-top showboating. And we're in the entertainment industry! Pair that with the fact that this industry has historically been male-dominated, and I don't think sexism is any surprise. I will add this. We're seeing a steady increase in the amount of women playing games, creating them, marketing them, and producing them. As the ranks fill out with women, sexism will ebb off as this industry continues to become more gender-balanced. However, creativity is the great equalizer. Girls and women provide a fresh perspective and generate entirely new parameters for creative development... Listen to them.

LM: I couldn't agree more! Thank you so much for taking the time to share your thoughts with all of us at AG.

MG & RR: Thank you, Laura, and all the adventure gamers for your continued support!

[on-stand-by]

HALLO DAKOTA HERE :3 hope to everyone that stumbles upen this AU enjoys there stay and have a fun time going through the Ink crew’s goofy adventures

(・ω<)

Adoption series:

Chapter 1: New Beginnings

Chapter 2: Gift from the sky

Chapter 3: The last page

Out of Bounds series :

Part 1 - 5

And the QnA box is currently: OPEN

Here’s the First page

<more info>⬇️

Synopsis:

The main story takes place after Audrey and the other victims of the machine had escaped the studio, returning back to the human world she first came from. However, as soon as they believe the torment is all over, their world had suddenly came to a halt, and almost everyone except the primary crew had disappeared without a trace. With the world being frozen in time, the crew were asking questions and wondering what had happened to their world to cause this to happen, especially after their grand escape where they finally felt free. At first, they thought it was due to the ink demon- or, perhaps the ink machine, scrambling for options, only to discover it had been due to their Creator having no ideas related to expanding their world, putting it on standby. They found this out via message that was hand delivered to them.(explore on this later on)

With the information delivered to them and their minds now expanded to the world set infront of them, however after what they experienced in their inky realm, the team mostly didn’t explore much and attempted and live as “normal" possible as any common civilian could have.

But by chance, on a random day, their Creator had decided to give them free will to explore the multiverse- as an attempt to expand his world building. However, this contained some limits; such as not using it for malicious intent and causing chaos in other worlds.

With newfound curiosity, the whole crew, especially Ben, were curious and excited about being able to explore and have some adventures after many years of mundane yet calming living. The crew didn’t use the access given to them much and went on with loving with their lives as normally as they can.

But one day Ben gets a message delivered to him informing him that he will be in charge of taking care of some Bendy’s ,another sad reason for the creator to expand their world ,which puzzles him cause why him and why specifically other Bendy’s. But before he could have a say in the, matter Ben(and the crew i guess) have three new members to add to there team, and had nicknames given to them Bindy,Mandy, and Memory.

So now the team have to live on in addition to having to take care of the three Bendy’s, especially Ben who is mainly the one in charge of them.

Characters:

Ben (Bendy the ink demon)

Audrey and Henry

Allison and Tom

Bindy (Bendy from @bunnybuns-art )

Mandy (Malik's bendy)

Sci (Bendy from @maniacscientdevil)

Memory (LM!Bendy from @hyperartist)

[christiangittingsblog]

Was the moon landing fake using CGI? No, this idea is impossible

(picture from the Apollo 11 moon landing Wikipedia Page)

There is an interesting theory that says the moon landing by the crew of Apollo 11 was filmed using Computer-generated imagery or in a studio on Earth.

I am not sure where these people get their ideas from as Computer-generated imagery (CGI) at the time was not that good. In fact, it was rubbish, and not that convincing, you can see examples of this in the picture and the article below, entitled The History of CGI in the Movies.,

Also, movie special effects in the 1960s were mostly done by models, animation, or other practical methods, not computers.

(Picture above from article "8 Bit Sprites to WebGL: How Computer Graphics Have Changed the World" a link to this article can be found in the reference section of this blog post)

They also did not film it in a movie set on Earth, as the lighting and movements of the Astronauts would be all wrong. It could have only been filmed on the moon.

As to the question, some moon landing deniers used in the past to justify their claims, which is

"How did they film the Astronauts coming out of the landing module or LM, as no Astronauts got out at this stage"

This issue can easily be solved by the fact that there was a remote camera mounted to the side of the landing module, or LM, which was moved into position and started filming before the astronauts got out.

(The weird ideas that moon consistency theorists have can be easily researched and easily debunked, probably even by a child moon landing fan as it is that easy and not hard to understand.)

This proves that consistency theory people do not know anything about the subject they are debunking and don't even have a basic understanding of history, science, or photography for, that matter.

Below is an interesting video by the MythBusters as they dismantle ideas, followed by moon landing deniers.

Also, check out photographer Dave McKeegan's video and his YouTube channel below where he debunks moon landing theory claims especially the claims that the pictures and videos of the moon landing were faked on Earth.

Dave McKeegan

References:

Apollo 11 - Wikipedia

Moon landing conspiracy theories - Wikipedia

Moon landing conspiracy theories debunked

The History of CGI in Movies

8-Bit Sprites to WebGL: How Computer Graphics Have Changed the World

Take note, consistency theory, people, maybe the meme below mocking you is correct, and the meme below shows 1980s CGI, not 1960s

Also, check out my history blog version

[iilmunchkiin]

Comfort

[govindhtech]

Obsidian And RTX AI PCs For Advanced Large Language Model

How to Utilize Obsidian‘s Generative AI Tools. Two plug-ins created by the community demonstrate how RTX AI PCs can support large language models for the next generation of app developers.

Obsidian Meaning

Obsidian is a note-taking and personal knowledge base program that works with Markdown files. Users may create internal linkages for notes using it, and they can see the relationships as a graph. It is intended to assist users in flexible, non-linearly structuring and organizing their ideas and information. Commercial licenses are available for purchase, however personal usage of the program is free.

Obsidian Features

Electron is the foundation of Obsidian. It is a cross-platform program that works on mobile operating systems like iOS and Android in addition to Windows, Linux, and macOS. The program does not have a web-based version. By installing plugins and themes, users may expand the functionality of Obsidian across all platforms by integrating it with other tools or adding new capabilities.

Obsidian distinguishes between community plugins, which are submitted by users and made available as open-source software via GitHub, and core plugins, which are made available and maintained by the Obsidian team. A calendar widget and a task board in the Kanban style are two examples of community plugins. The software comes with more than 200 community-made themes.

Every new note in Obsidian creates a new text document, and all of the documents are searchable inside the app. Obsidian works with a folder of text documents. Obsidian generates an interactive graph that illustrates the connections between notes and permits internal connectivity between notes. While Markdown is used to accomplish text formatting in Obsidian, Obsidian offers quick previewing of produced content.

Generative AI Tools In Obsidian

A group of AI aficionados is exploring with methods to incorporate the potent technology into standard productivity practices as generative AI develops and speeds up industry.

Community plug-in-supporting applications empower users to investigate the ways in which large language models (LLMs) might improve a range of activities. Users using RTX AI PCs may easily incorporate local LLMs by employing local inference servers that are powered by the NVIDIA RTX-accelerated llama.cpp software library.

It previously examined how consumers might maximize their online surfing experience by using Leo AI in the Brave web browser. Today, it examine Obsidian, a well-known writing and note-taking tool that uses the Markdown markup language and is helpful for managing intricate and connected records for many projects. Several of the community-developed plug-ins that add functionality to the app allow users to connect Obsidian to a local inferencing server, such as LM Studio or Ollama.

To connect Obsidian to LM Studio, just select the “Developer” button on the left panel, load any downloaded model, enable the CORS toggle, and click “Start.” This will enable LM Studio’s local server capabilities. Because the plug-ins will need this information to connect, make a note of the chat completion URL from the “Developer” log console (“http://localhost:1234/v1/chat/completions” by default).

Next, visit the “Settings” tab after launching Obsidian. After selecting “Community plug-ins,” choose “Browse.” Although there are a number of LLM-related community plug-ins, Text Generator and Smart Connections are two well-liked choices.

For creating notes and summaries on a study subject, for example, Text Generator is useful in an Obsidian vault.

Asking queries about the contents of an Obsidian vault, such the solution to a trivia question that was stored years ago, is made easier using Smart Connections.

Open the Text Generator settings, choose “Custom” under “Provider profile,” and then enter the whole URL in the “Endpoint” section. After turning on the plug-in, adjust the settings for Smart Connections. For the model platform, choose “Custom Local (OpenAI Format)” from the options panel on the right side of the screen. Next, as they appear in LM Studio, type the model name (for example, “gemma-2-27b-instruct”) and the URL into the corresponding fields.

The plug-ins will work when the fields are completed. If users are interested in what’s going on on the local server side, the LM Studio user interface will also display recorded activities.

Transforming Workflows With Obsidian AI Plug-Ins

Consider a scenario where a user want to organize a trip to the made-up city of Lunar City and come up with suggestions for things to do there. “What to Do in Lunar City” would be the title of the new note that the user would begin. A few more instructions must be included in the query submitted to the LLM in order to direct the results, since Lunar City is not an actual location. The model will create a list of things to do while traveling if you click the Text Generator plug-in button.

Obsidian will ask LM Studio to provide a response using the Text Generator plug-in, and LM Studio will then execute the Gemma 2 27B model. The model can rapidly provide a list of tasks if the user’s machine has RTX GPU acceleration.

Or let’s say that years later, the user’s buddy is visiting Lunar City and is looking for a place to dine. Although the user may not be able to recall the names of the restaurants they visited, they can review the notes in their vault Obsidian‘s word for a collection of notes to see whether they have any written notes.

A user may ask inquiries about their vault of notes and other material using the Smart Connections plug-in instead of going through all of the notes by hand. In order to help with the process, the plug-in retrieves pertinent information from the user’s notes and responds to the request using the same LM Studio server. The plug-in uses a method known as retrieval-augmented generation to do this.

Although these are entertaining examples, users may see the true advantages and enhancements in daily productivity after experimenting with these features for a while. Two examples of how community developers and AI fans are using AI to enhance their PC experiences are Obsidian plug-ins.

Thousands of open-source models are available for developers to include into their Windows programs using NVIDIA GeForce RTX technology.

Read more on Govindhtech.com

[jk-190811]

Melodies of the Heart - JJK

Genre: romance, angst

Pairing: Idol JK x Idol y/n

Warnings: anxiety, panic attacks

Part 3:

Chapter 4: Embracing Dominance

The days turn into weeks, and your relationship with Jungkook evolves in a way that surprises both of you. As you continue to take the lead, he becomes increasingly captivated by your strength and confidence. His admiration for you grows deeper, and he finds himself falling more in love with you every day.

Jungkook starts to rely on you for guidance and support, always looking to you for direction and approval. He's head over heels, unable to do anything without thinking of you. Every song he sings, every decision he makes, revolves around your influence

One evening, after a long day at the studio, you come home to find Jungkook waiting for you. He's prepared a romantic dinner, the table set with candles and flowers. As you walk in, he looks up at you with eyes filled with love and devotion

"Welcome home," he says softly, pulling out a chair for you. "I wanted to do something special for you."

You smile, appreciating the effort he's put into the evening. "Thank you, Jungkook. This is wonderful."

Throughout the meal, he's attentive to your every need, hanging on to your every word. His eyes never leave you, a look of pure adoration on his face. After dinner, you both move to the living room, where he sits at your feet, resting his head on your knee

"I've been thinking about you all day," he admits, his voice filled with emotion. "I can't seem to focus on anything else. You've become my everything."

You gently run your fingers through his hair, feeling a sense of pride and affection. "lm glad you feel that way," you say, lifting his chin so he looks into your eyes. "Because I want you to know that Il'II always be here to guide you, to take care of you."

He nods, a smile spreading across his face. "I trust you completely," he says. "I love you more than anything.

The nights become a routine of him seeking your approval and guidance, always eager to please you. Whether it's in the bedroom or in daily life, he's completely submissive, his happiness tied to your satisfaction.

One weekend, you plan a getaway to a secluded cabin in the mountains. It's a perfect escape from the pressures of your careers, a chance to deepen your bond. The moment you arrive, Jungkook looks to you for direction.

"What do you want to do first?" he asks, his voice filled with anticipation.

You take his hand, leading him to the cozy living room. "First, I want you to relax," you say, sitting him down on the plush couch. "Let's enjoy this time together.

Throughout the weekend, he follows your lead, from exploring the scenic trails to cozying up by the fireplace. Every moment is filled with tenderness and love, his devotion to you growing stronger with each passing day,

As you lie in each other's arms one night, the fire casting a warm glow around the room, Jungkook looks at you with tears in his eyes. "I can't imagine my life without you," he whispers. "You're my everything.

You hold him close, feeling a deep sense of fulfillment. "And you're mine,"' you reply, kissing him gently. "Together, we can face anything.

Your relationship becomes a perfect balance of strength and submission, his love for you unwavering and absolute. Jungkook's world revolves around you, and he wouldn't have it any other way.

[makesitprecious]

Ariel kids shows!

Ariel as a tween in the animated show:

Her meeting Flounder is changed in The Little Mermaid 3, but since this pre-dates, I consider it canon.

Ariel's look is very 90's Disney tween. The bobblehead, twiggy frame and no "natural" make-up (signature red lips y'all). I'm sure someone in the studio used the word "tomboy".

I am so excited for yet another LM series! Keeping the pony, they went with a high styled look this time (a cute parallel to the end of the LA movie). I love the ode to her purple shells with the necklace and wish someone had thought of that in the 90's rather than tween Ariel's...bralette? Shellette.

[stevebattle]

Romi conversation AI robot, Mixi, Japan (2021). "Romi is a specialized conversation robot that fits snugly in the palm of your hand. Differing from conventional robots equipped with fixed responses, Romi utilizes our cutting-edge proprietary communication AI to keep conversations going, meaning that you can speak to Romi just like a real human. We developed Romi to provide comfort like a pet and understanding like a family member. Possessing a rich range of emotional expression, Romi can share your happiness, sadness, and anger. Romi is sure to brighten your life with over 100 facial expressions and movement patterns and help you bring out the best of every day with over 100 functions such as alarms and reminders." – Providing space and opportunity for communication with Romi, Mixi.

"First, when a person speaks to Romi, Romi converts the voice data into string data via the Google Cloud Speech API. When this string data is sent to the conversation server, the server constructs the answer as text data and returns it to Romi. Finally, Romi uses text-to-speech to convert text into speech and respond to people. Romi uses generative AI in its conversation server to construct answers to people. However, the generative AI model used by Romi is "in a different direction of development'' from models such as GPT-4 … [where] hallucination becomes a major issue. On the other hand, Shinoda's managers tuned Romi based on the idea that even if there were some mistakes, 'as long as it's fun to talk about and the users laugh, that's fine.' This is one of the reasons why we used Stable LM as the base model for our original AI." – an interview with Harumi Shinoda, Vantage Studio Romi Division Development Group Manager, MIXI's conversation robot "Romi" that heals people, AI tuning that emphasizes fun over accuracy.