Apple is rumored to be working on a new smart home product. Mark Gurman at Bloomberg reported that the company is developing a wall-mounted display for controlling appliances, interacting with Siri and videoconferencing. The tablet is said to look "like a square iPad" with "a roughly 6-inch screen." It would have a camera at the top as well as internal speakers and a built-in rechargeable battery. His sources said this smart home display could be officially announced as soon as March following three years in development.

This description sounds a lot like the Google Home Hub, which came out in 2018, or the Echo Show, which is already up to its eighth iteration. If Apple wants to be a serious competitor in this smart home space, it'll have to prove to customers that it has something to offer that these more established brands and products don't.

Right now, the only distinguishing feature is likely Apple Intelligence, which finally began rolling out to users in late October, and the upcoming App Intents system for controlling software programs with AI. But Apple may be looking farther ahead toward something more extravagant than just a smart device control panel. Gurman reported that Apple is already working on a version with a robotic arm that could move the tablet around. It should be interesting to see exactly what Apple does formally launch and when.

This article originally appeared on Engadget at https://www.engadget.com/home/smart-home/apple-could-launch-a-smart-home-control-center-next-year-222136073.html?src=rss

A lockout at the Port of Montreal began Sunday night. The CEO of the Montreal Port Authority says if the dispute between dockworkers and the Maritime Employers Association drags on, it will have disastrous consequences for the economy.

The UK could face a £22bn hit to its exports if Donald Trump carries out his tariff threats, researchers say.

The car finance industry is setting aside billions to pay for potential claims after a test case.

The outcome of the 2024 U.S. presidential election could reshape policies from health care at home to nuclear proliferation abroad

The outcome of the 2024 U.S. presidential election could set the climate agenda, reshape public education and shift the dynamics of global science collaboration.

A few dozen ChatGPT queries cost a bottle’s worth of water. Tech firms should consider simpler solutions, such as harvesting rainwater, to meet AI’s needs

Cochlear implants—the neural prosthetic cousins of standard hearing aids—can be a tremendous boon for people with profound hearing loss. But many would-be users are turned off by the device’s cumbersome external hardware, which must be worn to process signals passing through the implant. So researchers have been working to make a cochlear implant that sits entirely inside the ear, to restore speech and sound perception without the lifestyle restrictions imposed by current devices.

A new biocompatible microphone offers a bridge to such fully internal cochlear implants. About the size of a grain of rice, the microphone is made from a flexible piezoelectric material that directly measures the sound-induced motion of the eardrum. The tiny microphone’s sensitivity matches that of today’s best external hearing aids.

Cochlear implants create a novel pathway for sounds to reach the brain. An external microphone and processor, worn behind the ear or on the scalp, collect and translate incoming sounds into electrical signals, which get transmitted to an electrode that’s surgically implanted in the cochlea, deep within the inner ear. There, the electrical signals directly stimulate the auditory nerve, sending information to the brain to interpret as sound.

But, says Hideko Heidi Nakajima, an associate professor of otolaryngology at Harvard Medical School and Massachusetts Eye and Ear, “people don’t like the external hardware.” They can’t wear it while sleeping, or while swimming or doing many other forms of exercise, and so many potential candidates forgo the device altogether. What’s more, incoming sound goes directly into the microphone and bypasses the outer ear, which would otherwise perform the key functions of amplifying sound and filtering noise. “Now the big idea is instead to get everything—processor, battery, microphone—inside the ear,” says Nakajima. But even in clinical trials of fully internal designs, the microphone’s sensitivity—or lack thereof—has remained a roadblock.

Nakajima, along with colleagues from MIT, Harvard, and Columbia University, fabricated a cantilever microphone that senses the motion of a bone attached behind the eardrum called the umbo. Sound entering the ear canal causes the umbo to vibrate unidirectionally, with a displacement 10 times as great as other nearby bones. The tip of the “UmboMic” touches the umbo, and the umbo’s movements flex the material and produce an electrical charge through the piezoelectric effect. These electrical signals can then be processed and transmitted to the auditory nerve. “We’re using what nature gave us, which is the outer ear,” says Nakajima.

Why a cochlear implant needs low-noise, low-power electronics

Making a biocompatible microphone that can detect the eardrum’s minuscule movements isn’t easy, however. Jeff Lang, a professor of electrical engineering at MIT who jointly led the work, points out that only certain materials are tolerated by the human body. Another challenge is shielding the device from internal electronics to reduce noise. And then there’s long-term reliability. “We’d like an implant to last for decades,” says Lang.

In tests of the implantable microphone prototype, a laser beam measures the umbo’s motion, which gets transferred to the sensor tip. JEFF LANG & HEIDI NAKAJIMA

The researchers settled on a triangular design for the 3-by-3-millimeter sensor made from two layers of polyvinylidene fluoride (PVDF), a biocompatible piezoelectric polymer, sandwiched between layers of flexible, electrode-patterned polymer. When the cantilever tip bends, one PVDF layer produces a positive charge and the other produces a negative charge—taking the difference between the two cancels much of the noise. The triangular shape provides the most uniform stress distribution within the bending cantilever, maximizing the displacement it can undergo before it breaks. “The sensor can detect sounds below a quiet whisper,” says Lang.

Emma Wawrzynek, a graduate student at MIT, says that working with PVDF is tricky because it loses its piezoelectric properties at high temperatures, and most fabrication techniques involve heating the sample. “That’s a challenge especially for encapsulation,” which involves encasing the device in a protective layer so it can remain safely in the body, she says. The group had success by gradually depositing titanium and gold onto the PVDF while using a heat sink to cool it. That approach created a shielding layer that protects the charge-sensing electrodes from electromagnetic interference.

The other tool for improving a microphone’s performance is, of course, amplifying the signal. “On the electronics side, a low-noise amp is not necessarily a huge challenge to build if you’re willing to spend extra power,” says Lang. But, according to MIT graduate student John Zhang, cochlear implant manufacturers try to limit power for the entire device to 5 milliwatts, and just 1 mW for the microphone. “The trade-off between noise and power is hard to hit,” Zhang says. He and fellow student Aaron Yeiser developed a custom low-noise, low-power charge amplifier that outperformed commercially available options.

“Our goal was to perform better than or at least equal the performance of high-end capacitative external microphones,” says Nakajima. For leading external hearing-aid microphones, that means sensitivity down to a sound pressure level of 30 decibels—the equivalent of a whisper. In tests of the UmboMic on human cadavers, the researchers implanted the microphone and amplifier near the umbo, input sound through the ear canal, and measured what got sensed. Their device reached 30 decibels over the frequency range from 100 hertz to 6 kilohertz, which is the standard for cochlear implants and hearing aids and covers the frequencies of human speech. “But adding the outer ear’s filtering effects means we’re doing better [than traditional hearing aids], down to 10 dB, especially in speech frequencies,” says Nakajima.

Plenty of testing lies ahead, at the bench and on sheep before an eventual human trial. But if their UmboMic passes muster, the team hopes that it will help more than 1 million people worldwide go about their lives with a new sense of sound.

The work was published on 27 June in the Journal of Micromechanics and Microengineering.

The Community Disputes Resolution Tribunals (CDRT) will be able to mandate mental health treatment for those who cause unreasonable interferences in the community if a bill to amend the Community Disputes Resolution Act (CDRA) goes through.  The bill was proposed in Parliament by Minister for Community, Culture and Youth Edwin Tong on Tuesday (Nov 12). The CDRT currently hears disputes under CDRA between neighbours involving acts of unreasonable interference with the enjoyment or use of places of residence. Under the bill, the tribunal will be able to issue Mandatory Treatment Orders (MTO) should there be a belief that the acts of disturbance stem from an underlying psychiatric condition. "In those cases, the issue therefore is not just a disamenity one," Minister Tong said. "Hence, the MTO is intended to address the root cause of certain acts that a resident may engage in." Tong added that their priority remains in persuading the resident to go for treatment voluntarily, and that the CDRT-issued MTO is a measure of last resort. There are also criteria that must be met for the MTO to be issued.

Sep 20, 2016

"South Africa is the continent's largest chicken producer. According to the South African Poultry Association, chicken imports from Brazil, the European Union and the US are destroying the domestic sector....This has led to oversupply and price reduction. This may benefit consumers, but it undercuts incentives for local production."

Dec 21, 2023

Artificial intelligence is poised to remove human limitations inherent in many systems, including information and logistical bottlenecks in decision-making.

 

Apr 18, 2024

The human tragedy continuing to unfold in Gaza and Israel reminds us how important it is to get strategic forecasting right. While in no way excusing Hamas’ culpability for 7 October, we also cannot dismiss the fact that the failure to anticipate and prepare for such an attack has had grave consequences for communities on both sides of this conflict, undermined efforts to bring peace and prosperity to the region, and affected global interests through the expansion of the conflict to the Red Sea and potentially beyond. 

Settlement Overview Video. If you lived at Huronia, Rideau, or Southwestern Regional Centres, you may be eligible to make a claim.

Enjoy Life with Clayton Homes and you could be going to the Big Game!

Dr. N. Lawrence Edwards from the Gout & Uric Acid Education Society talks about the dangers of elevated uric acid.

We're getting a new cockpit-focused Star Wars flight game this October! While visions of the classic LucasArts simulators X-Wing and TIE Fighter do barrel rolls in our heads, we should temper our expectations.

Hi everybody.

The question I get most is: "Where do you get your ideas?"

Generally, when I'm asked this question, it's at a book event where it's difficult to answer, because… Well, the answer is long, and complicated, and hard to pin down, and most of the time, I don't really remember how it happened. When an idea starts to arrive, I get to work. I'm not paying attention to how it's happening, or how it would look to an outsider. 

But — a few weeks ago, a new book idea started knocking on the door of my mind. And this time, I decided to pay attention!

What follows is probably the most detailed explanation I'll ever give of where my ideas come from. More specifically, where this particular idea came from, because it's not always the same. But my experience of the past few weeks has been fairly typical for me, and I'll add that there are a few activities I need to engage in every single time, if I want an idea to take root. Namely: PATIENCE. LISTENING. And, LABOR. Book ideas require a certain honed receptiveness, and they require a LOT OF WORK. 

I'm yelling because I'm trying to push back against the idea that ideas simply come to writers. Yes, some parts of ideas come to writers. But when I first get a book idea, what "comes to me" probably comprises about 0.1% of what could properly be called a book idea. Often, it's little more than an inchoate feeling. With patience, listening, and labor, I transform the idea into something I can grasp, and work with.

I'll add that yes, we do hear sometimes of writers whose ideas "simply came to them," fully formed. I'm going to take a guess that (1) this doesn't happen very often, if ever, with books that have complicated structures or plots, and (2) writers who are blessed by ideas in this way probably have a long-honed practice of receptiveness.

Anyway. Warning upfront that this may be a little unstructured, because the process is a little unstructured. It's challenging to describe, and I'm still in the middle of it. But here's what my last few weeks have been like.

A few weeks ago, while watching a TV show that had a certain mood/aura that'd really sucked me in, I found myself drawn to the idea of a story involving three characters. I'm not going to tell you what TV show I was watching, and I'm not going to tell you anything about my three characters, because story ideas are intensely, intensely private. The first time I say anything publicly about it will probably be years from now, if and when this book is ever scheduled for release. But let me try to explain a bit about that moment when the first glimmering of the idea appeared. 

Like I said, I'd been watching a TV show when it happened. But my three characters weren't characters in that TV show. Nor did anyone in that TV show relate to each other the way my three characters seemed to want to relate. Nor did my three characters seem to live in a world like the world of the TV show. The TV show helped to launch the idea at me because of the show's mood and its feeling, and how much I cared about the people in it. But my idea? As is often the case, my idea came from something I saw missing in the TV show. Not missing because there was a flaw in the TV writers' story; I loved their story! But missing (for me and possibly only me) because their story was not the story I would have told.

I think that a lot of my idea seeds come from my adoration of other people's stories, but also from my noticing what's missing in those stories, for me. What story I would've like to have seen told; what characters the story lacked.

Anyway. So this idea of these three characters came to me. But when I say "idea of these three characters," already that sounds more substantial than it was. I knew they were three humans (or humanoids; I didn't know what genre the story was, so they could've been aliens on another planet, for all I knew. In fact, I actively considered whether they might have different biology than ours). I knew they cared about each other, but I didn't know in what way. I knew they were facing a challenge that would strain all of their relationships. I thought they might be grown-ups, but I wasn't sure. I thought I knew at least two of their genders, but I wasn't sure. I knew they lived in a world with magic, but I didn't know what "magic" meant in the context of their world. I didn't know where they lived, or when they lived (past? future? futuristic past? postindustrial future? any of about a hundred other possibilities). I knew a whole lot of things that the characters weren't, and that the world wasn't — which is another way of saying that my sense of what this story was was actually more defined by all the things I knew it wasn't. (Apologies if this is vague. I'm not being intentionally vague! I'll try for some concrete examples: I knew I didn't want to write a story where partway through, someone suddenly discovers they have an inborn power they didn't know they had. I knew I didn't want to write a love triangle. There's a certain kind of high-handed fantasy tone that I knew wasn't right for this story. But I didn't know what I did want yet at this point.)

Really, all I knew was that I seemed to be having an idea.

So, like a writer, I did what I needed to do: 

• I made space in my mind for receptiveness. (I scheduled uninterruptable alone time. I stopped listening to podcasts while I was out walking, and instead, just walked, so my mind could wander. I put aside non-urgent tasks for a while so that I didn't have the feeling of a to-do list hanging over my head. I gave myself permission to wool-gather, to become vague and absent-minded. I set three timers any time I cooked anything so I could feel free to forget I was cooking, but also not burn the house down. I remembered to thank my husband frequently for being willing to live with a space cadet.)
• I thought about what fertilizer might help the idea to grow, especially fertilizer in the form of books, TV, and movies. I put all other books, TV, and movies aside. (I kept watching that same TV show, and I also began reading almost exclusively one writer who had a narrative tone — and also subject matter — that helped me sustain a mood that felt concurrent with the mood of my own idea. Why does this kind of intake help? It keeps my mind in a story space, while also giving me something to bounce my own ideas off of. It's a kind of reading, or watching, that involves a state of constant interactivity and reactivity. Everything I'm consuming becomes about something else that I'm looking for. It's difficult to explain, maybe because it gets back to that inexplicable moment when new ideas form.)
• I made sure that every single time I had any new thoughts relating to my idea, I wrote them down. (This meant making reminders on my phone; sending strings of emails to myself; choosing a notebook where I began to jot things down; sending texts to myself on my husband's phone, if his phone was closer to hand than mine.)
• I looked at my schedule to give myself a sense of if and when I might have a few days soon to put my current writing project aside and give some true, devoted time to this new idea. (I was, and still am, in the middle of revisions of the next Graceling Realm book when this happened, and that was, and still is, my absolute first priority. As exciting and intense as a new idea can be, it can't unseat me from my current object of devotion.)

By chance, last week, I did in fact have some time away from my revision while it was briefly with my editor. I was able to devote an entire week to the new book idea. So, next, I'll try to describe what a week of intense idea-gathering looks like for me! (Though I should say that this will differ from book to book. It's been pretty clear to me from the beginning that this new idea is going to be slow to grow — planning this book will take way more than a week. In contrast, last fall, I found myself with a new and sudden book idea that coincided with the end of another project, so I had some free time and was able to sit down and hammer out the entire book plan, which took only a few days. I think this is because that book was shorter and less emotionally complicated than this new book will be, and was set in a less complex world. Also, at the time, I was absolutely thrumming with the adrenaline and momentum of having just finished a writing project, so book-planning became a way to channel that energy. Often these processes are subject to whatever else is going on in my life.)

So. My week of intense idea-gathering looked a lot like what I've already described — reading, watching TV, but now also with long hours of sitting staring at a blank page and/or lying on my back staring at the ceiling — but with a more specific goal. Namely, I was trying to figure out what my main questions were. For me, every book starts (and continues, as I write) with an extremely long list of questions that I'm trying to find the answers to, but it takes work to figure out what the questions are. The questions can be very different from book to book. And it's essential, at the beginning, to identify what the main questions are.

When I'm first idea-gathering, I use very short notebooks in which I scribble down all my random thoughts as they come (I like using these twenty-page notebooks from Laughing Elephant, because they're short enough not to feel intimidatingly important). Then I have one longer, thicker notebook which is for my more coherent thoughts — my more serious book planning. During my week of active idea-gathering, I came up with the following list of major questions, worthy of being written down in my thick, "serious" planning notebook:

MAJOR QUESTIONS.

• What is magic?
• How does bad human behavior manifest in this world? (for real *)
• Where/what culture does each of them come from? What family?
• How is society governed?
• Who is each of them — as a person and as a power manifestation?
• How is the narrative positioned?
• What is the plot?
• How do humans relate to the rest of the natural world?
• What is gender? (for real *)

* and by societal definition

So. I'm not sure how closely you looked at those questions — but they are pretty gigantic questions! It took me a week to identify all of them. It's going to take me much, much longer to answer them. Which goes back to my point that ideas don't just "come to me." The merest seed of an idea might come to me, and after that, I make the space, and do the work.

As I began to hammer out my questions, I continued to read, watch things, and wool-gather, but with more intense focus. Because now I was also trying to answer these questions as they came. It was interesting to observe the order in which I began to find the answers. Not surprisingly, probably since my novels tend to be character-based, it was the character-based questions that drew me in first. “What is gender" in particular, because I have a sense that in this story, my characters' relationships to gender are absolutely integral to who they are, and I can’t get very far with a book plan if I don’t know who my characters are. I also started to gather some clues about their personalities and their strengths. Enough that after a couple of days, I got to the point where I suddenly knew I needed their names. Names ground everything, and they can also change some things; at a certain point, I can't make any further progress without names. I spent one entire day last week mostly just trying to figure out three people's names. Once I had the names, I was able to return to my questions.

Then, not too long after that, a moment arose where I knew, again quite suddenly, that what I needed next was at least the broad strokes of a plot. If I’m a little scornful about the concept of inspiration — because it’s a concept that dismisses how hard I work! — I do believe in intuition, and also in experience. Intuition and experience told me that I'd reached the point in my planning where the needs of my plot would hold the answer to a lot of my other questions. Like, how this place is governed; what constitutes bad behavior; and even some character things, like what culture each of my characters is from. Sometimes, once you know what needs to happen in a story, it becomes easier to picture the structure of your world. Because a plot comes with needs; once a plot exists, it limits some of your other options. For example, let's say your plot involves a particular kind of government-based corruption. Well, thinking about that corruption will probably start to show you some of your options for the structure of the government. Once you know the structure of the government, you might begin to understand who holds governmental power — which can lead to answers about how families are structured. Which can lead to answers about culture, which can lead to answers about the societal definition of bad behavior, etc.

So. I reached the point where I needed at least a sense of my plot. But: plotting is a HUGE job. I knew it wasn't something I could do in just a few days, and at this point I also knew that I was going to need to return to my revision soon. So, intuition told me that it was time to stop. Not stop being receptive; not necessarily stop reading or watching the helpful things; not stop sending myself emails, texts, and reminders; but stop trying to make any real, meaty, major progress on this book idea. I needed to save the job of plotting for when I next had a stretch of uninterrupted worktime. Maybe another free week or two somewhere, between other projects.

So, I did some final organizing of my notebook. I transferred things into it from other notebooks and I designating a huge number of empty pages in it for future plot thoughts and future character thoughts. I did this even though in this book, as in most of my books, I sense that character and plot will ultimately end up being the same thing, so it's not going to matter much which thoughts I file where. (In other words, most of my plot is going to spring from who my characters are, and many of my characters will spring from the needs of the plot.) But at this messy stage in planning, it's important to me to feel organized. The illusion of organization stops me from feeling as overwhelmed as I probably should be feeling. So I label things, and delude myself that I can contain this messy process inside a nice neat notebook ????. 

I organized my notebook, and then I put it aside. Today I'm still open to thoughts about my new book idea, but it's not my entire worklife anymore... it's more of a promise for the future. It'll probably be good to have it simmering on the back burner for a while. I'll be able to approach it with a new freshness when I sit down with it again one day.

So. I'm not sure how satisfyingly I've answered the question "Where do you get your ideas?" After all, this idea is still very much in progress. I figured out a lot of stuff last week, but mostly what I figured out is a long list of all the things I don't know yet. There will be many, many more workweeks to go before I'll be able to claim that I truly have an idea for a book. 

But this is my best shot at an answer to the question of where my ideas come from! I guess the point I want to convey is this: I don’t necessarily believe in inspiration. But I believe that sometimes a writer will start to get the merest sense of a story that's missing from the world, and find herself wanting to write that story. At that point, if circumstance allows her the time and space to enter a state that is extremely internally-focused and possibly involves a lot of intake (reading, watching other stories), or if not that, at least an extreme level of sensitivity and receptiveness, of seeing, of listening... And if she puts in the work… her idea-seed will start to take root, and grow into a real, workable idea that might one day be the beginnings of a book! 

And of course, every writer does this differently. Many writers don't plan or plot ahead of time. They figure out the idea as they write. So there's no right or wrong way to do it. 

But this is my best explanation of how I do it.

Godspeed to all writers.

Fans of Voltron: Legendary Defender are disheartened by the news that the series is leaving Netflix. The beloved animated show, which aired for eight seasons from 2016 to 2018, follows teens who join an intergalactic battle while piloting robotic ships shaped like animals. With the news sparkling debates, viewers are eager to learn why it’s […]

The post Why Is Voltron Leaving Netflix & Where Could It Stream Next? appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Amazon is developing smart eyeglasses aimed at enhancing the efficiency of its delivery drivers during the final stage of package deliveries. These glasses, still under development, will feature a small screen to provide turn-by-turn navigation. This innovation is intended to guide

TikTok’s “sleepy girl mocktails” remind us how important magnesium is for sleep and health

Comet 12P/Pons-Brooks will make its closest approach to the sun this April—right after North America is treated to a total solar eclipse

Originally theorized by Happy Hobbit, a music industry blog seems to confirm the song name.

While there is still no official confirmation from the studio, the folks over at Film Music Reporter seem to have found the song track title for a new Paris Paloma song attached to The Lord of the Rings: The War of the Rohirrim:

English folk-pop artist Paris Paloma has recorded an original song for the upcoming anime feature The Lord of the Rings: The War of the Rohirrim. The track, entitled The Rider, written by Phoebe Gittins (who co-wrote the project’s screenplay with Arty Papageorgiou and Jeffrey Addiss & Will Matthews) & composer David Long and performed by Paloma, will be featured in the movie.

Where is the Horse and The Rider

Paris Paloma is fresh on the music scene having released her first album earlier this year. Kellie from Happy Hobbit is a huge fan and in this TikTok posted a few months ago she speculated that Paloma was involved in The War of the Rohirrim. Just last week at NYCC, Executive Producer Philippa Boyens teased a great new song without revealing the artist. You can watch the full panel on our YouTube.

On this week's TORN Tuesday, Kellie explains who Paris Paloma is and why she is perfect to be involved in the story of Rohan's shieldmaidens. Segment starts at 1:17:00

https://www.tiktok.com/@happy_hobbit_/video/7408239649933724974

Animals that hibernate need a way to keep their blood flowing as their body temperature drops, and it seems that the mechanical properties of red blood cells may be key

A new supercapacitor design that uses only water, clay and graphene could source material on Mars and be more sustainable and accessible than traditional batteries

Zapping the skin with electricity could stop bacteria that live there harmlessly from entering the body and causing blood poisoning

The largest and most ambitious Martian drone yet could carry kilograms of scientific equipment over great distances and set itself down on the Red Planet unassisted

Single-celled organisms called archaea can become multicellular when compressed, highlighting the role of physical forces in evolution

Asteroids that regularly fly between Earth, Venus and Mars could provide radiation shielding for human missions to explore neighbouring planets

Simulations suggest that when a quantum battery shares a quantum state with the device it is powering, the device can gain more charge than was stored in the battery to begin with

The US Census Bureau processes data before publishing it in order to keep personal information private – but a new approach could maintain the same privacy while improving accuracy

One day, doctors might be able to 3D print copies of your organs in order to test a variety of drugs, thanks to a new technique that uses light and sound for rapid printing

When it comes to the survival of animals living in the wild, the characteristics of the group can matter as much as the traits of the individual, according to a study in marmots