Category: Technology

Meta will essentially foot the power bill for the $27 billion mega data center it’s building in Louisiana. On Friday, the Wall Street Journal reported that the company struck a deal to fund the energy infrastructure needed for the project.

Through a deal with Entergy Louisiana, Meta will fund seven new natural gas power plants, 240 miles of transmission lines and battery energy storage at three locations. The gas plants will have a combined power output of 5,200 megawatts, and the transmission lines will operate at 500 kilovolts.

In addition, the company will help fund up to 2,500 MW of new renewable resources. It also agreed to a memorandum of understanding for future nuclear power development. The 4-million-square-foot Richland Parish, LA, data center will be Meta’s biggest yet. It’s currently under construction.

The energy deal follows a pledge by tech companies, including Meta, to offset local residents’ rising electricity costs from AI data centers. The companies plan to “build, bring or buy the new generation resources and electricity needed to satisfy their new energy demands, paying the full cost of those resources.” However, the pledge lacks a binding agreement or any enforcement mechanisms.

The shift in tone comes in response to growing anger from local communities over the rise of power-hungry, environmentally damaging AI data centers. A December poll found that 60 percent of Americans — including majorities of Democrats, Republicans, and independents — support more AI regulation. Just this week, Sen. Bernie Sanders and Rep. Alexandria Ocasio-Cortez introduced a bill to force a moratorium on data center construction until meaningful regulations are passed.

We could easily file this and similar moves as Big Tech’s latest attempt to convince voters and officials that it can be trusted to do right without enforceable regulations. We’ve seen that movie before.

This article originally appeared on Engadget at https://www.engadget.com/big-tech/meta-will-fund-seven-new-natural-gas-plants-to-power-its-biggest-data-center-yet-201000045.html?src=rss 

The Mimms Museum of Technology and Art in Roswell, Georgia is debuting a new exhibit celebrating Apple’s 50th anniversary. The exhibit, iNSPIRE: 50 Years of Innovation from Apple, is set to open on April 1, the date the company was founded, and includes “more than 2,000 artifacts across 20,000 square feet, making it the largest public display of Apple products in the world.”

iNSPIRE is supposed to offer “a unique look” into Apple, by “highlighting early computers, rare prototypes, original documentation and immersive installations inspired by Apple’s most iconic products and campaigns.” Based on photos shared from the exhibit’s launch event, that includes displays of every model of key products like the iPod, iPhone and iPad, and an interactive installation that inserts you in the company’s iconic iPod ads.

If you’re based on the west coast of the US, the Computer History Museum in Mountain View, California is also displaying its own “Apple@50″ exhibit, and running what it calls “Mactivations,” scheduled demos where you can interact with a reproduction of an original Macintosh.

Apple’s own celebrations have included a published letter from CEO Tim Cook ruminating on the company’s mission, and live music events at the company’s stores, offices and select landmarks around the world.

This article originally appeared on Engadget at https://www.engadget.com/computing/if-you-live-in-georgia-theres-a-new-exhibit-you-can-visit-celebrating-apples-50th-anniversary-180940846.html?src=rss 

If you’re still using Crunchyroll after its AI subtitle fiasco and subsequent price increase, there’s a new way to watch. The anime streaming service is now available as a channel in the Apple TV app.

That means you can subscribe and stream your favorite anime titles, all within Apple’s video app. No need for the Crunchyroll app or a separate login. (Your Apple account handles your subscription using this method.) 9to5Mac notes that this is the first significant new channel added to the TV app in some time.

Crunchyroll starts at $10 per month, after the platform raised all of its monthly subscription prices by $2 earlier this year. That may be a hard sell for fans frustrated by the platform’s direction.

Last year, months after the company president enthused about the potential for AI subtitles, fans noticed something fishy. The German subtitles for Necronomico and the Cosmic Horror Show included one that began with “ChatGPT said…” Crunchyroll pinned the blame on a third-party vendor and promised it would work to “rectify the error.”

This article originally appeared on Engadget at https://www.engadget.com/entertainment/streaming/crunchyroll-is-now-available-as-a-channel-in-the-apple-tv-app-182500579.html?src=rss 

Anxiety, more so than technological rigor, sits at the heart of The AI Doc: Or How I Became an Apocaloptimist. Director Daniel Roher is anxious about the future he’s bringing a child into — will it be an AI-driven utopia? Or does it spell certain doom, something explored in countless sci-fi stories. To figure it all out, he interviewed some of the most well known AI proponents and critics, including The Empire of AI author Karen Hao, AI researcher Emily Bender and Anthropic CEO Dario Amodei.  

The AI Doc, which hits theaters this weekend, doesn’t really shed new light. For that, I’d recommend reading Hao’s industry-defining book, which chronicles the rise of OpenAI and the precarious nature of its business. But I don’t think tech-heads are the main audience for this film. Instead, Roher is trying to break down the state of AI for mainstream audiences, the folks who may occasionally use ChatGPT or Google’s Gemini, but aren’t aware of why they’re controversial. In particular, the film exposes the near-religious devotion many in the tech world have around AI. 

It’s not a spoiler to say that Roher ultimately adopts an “apocaloptimist” viewpoint. He’s aware of the potential dangers of AI, and that it will likely have some serious societal impact. But, he also thinks humans have the ability to shape where it’s headed. AI proponents have a near-religious belief in the eventuality of artificial general intelligence (AGI), or AI that can match and surpass human capabilities. But AGI isn’t inevitable, and Roher argues there’s room for critics and the public to push back. 

We’re seeing small examples of AI resistance already. Just look at the viscerally negative response to NVIDIA’s DLSS 5 AI upscaling; Microsoft’s recent plans to pull back on Copilot AI features in Windows 11; or OpenAI shutting down its Sora AI video generation app. (The latter may be due to the sheer expense, but Sora has certainly seen plenty of criticism.) If enough people say no to various implementations of AI, tech companies will be likely to respond.

Daniel Roher in The AI Doc.

The AI Doc splits its narrative between true believers — like OpenAI CEO Sam Altman and Anthropic CEO Dario Amodei — and prominent AI critics — like Tristan Harris, the co-founder and president of the Center of Humane Technology, as well as linguistics professor Emily M. Bender. It’s easy to feel a bit of whiplash when the film moves from people who genuinely think AI will lead to some sort of utopia (and who will also become insanely rich in the process), and the extreme critics who think it will mean the end of humanity. At one point, Harris mentions that some of his friends working in AI risk assessment believe that their kids “won’t see high school.” There’s that anxiety again. 

While The AI Doc squeezes an impressive amount of notable interviews in its hour-and-43-minute runtime, I would have liked to hear more from critics like Timnit Gebru, a former Google AI researcher who also ties the development of AI into a rise of “techno-fascism” in Silicon Valley. She appears briefly in the film, but her perspective isn’t fully fleshed out. The AI Doc doesn’t dig very deeply into the driving forces behind AI, whereas Ghost in the Machine, this year’s other major AI documentary, draws a direct line between the rise of eugenics and Silicon Valley. (Ghost in the Machine is headed to theaters this summer, and will air on PBS in the fall.) 

It’s the sort of energetic, animation-heavy documentary that wants to make sure the audience is never bored. But the threat of AI deserves more nuance and critical scrutiny. At worst, The AI Doc may make more people question the value of AI as the tech industry becomes more desperate to make it a success.

This article originally appeared on Engadget at https://www.engadget.com/entertainment/tv-movies/the-ai-doc-explores-how-we-can-survive-an-uncertain-ai-future-154341735.html?src=rss 

Ryu Ga Gotoku Studio has revealed more details about its upcoming title, Stranger Than Heaven, at the Xbox Partner Preview stream. While previous teasers showed that it was going to be set in the 1910s and 1940s, it turns out its gameplay will span five different time periods: 1915, 1929, 1943, 1951 and 1965. The game’s events will also take place in five different cities. Ryu Ga Gotoku has yet to reveal what the locations will be based on, but the setting for 1965 seems to be Kamurocho. That’s the fictionalized version of Tokyo’s Kabukicho entertainment district in the studio’s games, the Yakuza and Judgment series.

One time period seems to be set during winter, while another focuses on a hot spring town. It’s clear from teasers and the new trailer RGG released that new title will share Yakuza’s aesthetics and maybe even its fighting mechanics. The studio has yet to say whether it will be connected to the Yakuza series, but fans believe Stranger Than Heaven could focus on the beginnings of the yakuza clans that appeared throughout the franchise.

RGG Studio will reveal more details about the game on another stream with Xbox on May 6 at 7PM Eastern time. For now, you can watch the trailer below for a preview. Take note that while the studio has teamed up with Xbox for these reveals, the game will also be available on Steam and the PS5.

This article originally appeared on Engadget at https://www.engadget.com/gaming/rggs-stranger-than-heaven-game-will-span-five-time-periods-114554699.html?src=rss 

I know what you’re thinking: “Isn’t Fender a guitar company?” It sure is, and has been one of the most iconic names in guitars and amplifiers since 1946. So what is the company doing making headphones and speakers? Well, it isn’t, exactly. Like Zound Industries used to do with Marshall (before buying the amp business), another company is licensing the Fender name for its consumer audio products. Fender Audio, the brand that’s on the headphones I’m reviewing, is owned by the Fender Corporation, but Riffsound oversees the design and production of portable audio gear. 

The first products from Fender Audio are the Mix headphones and the Elie speaker (in two sizes). The company revealed these in January before properly showing them off  at CES. I’ll get to those speakers in a few weeks, but the Mix headphones are first up on the review docket. 

With the Mix, Fender Audio seeks to offer a set of premium over-ear, noise-canceling headphones at a lower price than the likes of Sony, Bose and Sennheiser. There’s also marathon battery life, several smart design touches, a lossless Bluetooth transmitter and swappable parts that combine for a unique formula to take on those big names. I’m honestly impressed that Fender Audio could cram all of that in a more affordable package, but the final verdict on the Mix isn’t so straightforward.

What’s good about the Fender Mix headphones?

Fender Audio made numerous smart design decisions on the Mix headphones, and they resulted in my favorite things about using them. To start, you can swap out the ear pads, ear cups and headband as you see fit. The ear cups attach to the headband via USB-C ports, so they’re easy to snap on and off. Obviously, this allows you to change the look of the Mix over time, within the bounds of Fender’s available colors. 

Underneath the ear pads, Fender put a storage slot for the lossless dongle on the left side and gives you access to the removable battery on the right. I’m thrilled that I can enjoy higher quality Bluetooth connectivity without having to remember to bring along such a small accessory. Plus, it’s nice to know that users will be able to install a fresh battery, provided the company sells those at some point. 

I also enjoy how Fender Audio designed the onboard controls. First, they’re physical buttons, which are always my preference over touch- or gesture-based options. Second, the main one is a five-way joystick, so they’re very simple. Press it to play/pause, press and hold for pairing mode or press longer to power on or off. If you push the joystick up or down, you can adjust the volume, while moving it left and right skips the track forward or backward. You can also push down twice to enable Auracast pairing right on the headphones. A second button, which is just the regular kind, is used to cycle through noise canceling modes: ANC, transparency and both off. 

The lossless Bluetooth dongle inside the left ear cup

Sonically, the Mix headphones are at the height of their powers in lossless mode, which is enabled by the Bluetooth dongle hidden inside the ear cup. Bass tuning that’s otherwise overpowering in most cases is restrained, and you can pick up finer details in the more balanced mix. When listening to Watchhouse’s Rituals, I got the sense that I was surrounded by the band, with strings, drums and vocals enveloping my ears with sound — rather than it simply being projected from the left and right channels. There’s more nuance with the lossless mode, and it kept calling me back to the Mix headphones at the times when I’d probably opt for the conveniences of earbuds or a speaker. 

ANC performance is respectable, although it’s not on the level of Bose. It’s good enough to block out mild-to-moderate distractions, but it struggles with louder human voices and sudden jolts of noise. It will certainly do the job in the office or coffee shop, but you may notice some sounds invade your ears during a commute. For calls, transparency mode provides natural sound and it picks up enough of my voice that I never felt the need to shout. Call quality, though, is a different matter (more on that in a bit). 

Another big perk of the Mix is its long battery life. Fender Audio says you’ll get up to 52 hours with ANC on or a whopping 100 hours with it off. The company is forthcoming with the fact that the latter number is achieved at 50 percent volume, which will be too low for most “regular” use. Still, with noise canceling enabled and the volume around 70 percent, I had 52 percent battery left after nearly 30 hours of use. I spent most of that time with either ANC or transparency mode on. 

What’s not so good about the Fender Mix?

The five-way joystick and ANC button on the Fender Mix

Out of the box, Fender Mix’s tuning is too bass heavy. I realize a lot of people prefer a thundering low-end tone out of their headphones, but I found it to be too overpowering here. The stock sound profile is my biggest issue with this model, although it’s somewhat alleviated by using the lossless Bluetooth dongle. In that mode, the bass is slightly subdued, but it’s still quite prominent at times when it shouldn’t be. 

On that Watchhouse album, the kick drum starts to drive the sound, rather than the guitars, mandolin and other instruments. When I listen to the same songs on other headphones, I’ve noticed a better blend of drums and strings. With more intense genres, like the hardcore riffs and breakdowns of Incendiary’s Product of New York, the booming bass isn’t as much of an issue. The distorted guitars still cut through, and there’s plenty of texture in their tone. And when each song hits its climax, the cranked up lows offer extra oomph. It works for metal, but it isn’t always nice for bluegrass, jazz and synth-laiden electronic tunes where the extra bass can muddy the mix. 

The Fender Mix also lacks many of the smart features that are present in premium headphones today, which is probably how the company is able to sell them for $299. Things like automatic EQ tweaks and adaptive ANC are missing, as is automatic pausing when you speak or things like head gestures. These headphones don’t have wear detection either, so they don’t pause the audio when you take them off. There’s also no app available to dial in the EQ or adjust other settings (it’s coming soon).

These headphones only have two microphones for calls, and you can tell almost instantly that those are insufficient. Despite claims of “crystal clear calls,” your voice will just sound okay to the person on the other end. Honestly, I would’ve sounded better just using my iPhone with no headphones. The Mix works to get your voice across, but don’t dream of dialing into a podcast recording with them. What’s more, the Mix isn’t good at blocking background noise, so you’ll need to use them in a quiet location to have a chance at sounding decent. Which, again, is about the best these headphones can muster.

While the modular design allows for a decent degree of customization, the extra parts you’ll need aren’t on sale yet. What’s more, only two colors — white, which is really more of a light gray, and black — are currently available. So, for now, one of the perks of the Mix remains untapped. 

Wrap-up

The Fender Mix headphones

There’s a lot to like about the Fender Mix, from the clever design choices to the crisp, detailed sound. The lack of finesse with the bass tuning and the omission of advanced features, particularly the absence of an app for settings changes, keeps these headphones firmly planted in the midrange category. 

Clearly that’s not what the company is aiming for with tools like the lossless Bluetooth dongle, but that’s where it lands for me at the end of the day. So, at $299, the Mix is a tough call when a $250 price tag would make these an easier sell. Sure, there’s enough here to make these a capable daily audio accessory, but not everything I’d need to call them a must buy.

This article originally appeared on Engadget at https://www.engadget.com/audio/headphones/fender-mix-review-well-designed-headphones-that-just-fall-short-of-greatness-120000974.html?src=rss