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  Speech recognition

  Speech recognition (automatic speech recognition (ASR), computer speech recognition, or speech-to-text (STT)) is a sub-field of computational linguistics concerned with methods and technologies that translate spoken language into text or other interpretable forms. Speech recognition applications include voice user interfaces, where the user speaks to a device, which "listens" and processes the audio. Common voice applications include interpreting commands for calling, call routing, home automation, and aircraft control. These applications are called direct voice input. Productivity applications include searching audio recordings, creating transcripts, and dictation. Speech recognition can be used to analyse speaker characteristics, such as identifying native language using pronunciation assessment. Voice recognition (speaker identification) refers to identifying the speaker, rather than speech contents. Recognizing the speaker can simplify the task of translating speech in systems trained on a specific person's voice. It can also be used to authenticate the speaker as part of a security process. == History == Applications for speech recognition developed over many decades, with progress accelerated due to advances in deep learning and the use of big data. These advances are reflected in an increase in academic papers, and greater system adoption. Key areas of growth include vocabulary size, more accurate recognition for unfamiliar speakers (speaker independence), and faster processing speed. === Pre-1970 === 1952 – Bell Labs researchers, Stephen Balashek, R. Biddulph, and K. H. Davis, built Audrey for single-speaker digit recognition. Their system located the formants in the power spectrum of each utterance. 1960 – Gunnar Fant developed and published the source–filter model of speech production. 1962 – IBM's 16-word "Shoebox" machine's speech recognition debuted at the 1962 World's Fair. 1966 – Linear predictive coding, a speech coding method, was proposed by Fumitada Itakura of Nagoya University and Shuzo Saito of Nippon Telegraph and Telephone. 1969 – Funding at Bell Labs came to a halt for several years after the company's head engineer, John R. Pierce, wrote an open letter criticizing speech recognition research. This defunding lasted until Pierce retired and James L. Flanagan took over. Raj Reddy was the first person to work on continuous speech recognition, as a graduate student at Stanford University in the late 1960s. Previous systems required users to pause after each word. Reddy's system issued spoken commands for playing chess. Around this time, Soviet researchers invented the dynamic time warping (DTW) algorithm and used it to create a recognizer capable of operating on a 200-word vocabulary. DTW processed speech by dividing it into short frames (e.g. 10 ms segments) and treating each frame as a unit. Speaker independence, however, remained unsolved. === 1970–1990 === 1971 – DARPA funded a five-year speech recognition research project, Speech Understanding Research, seeking a minimum vocabulary size of 1,000 words. The project considered speech understanding a key to achieving progress in speech recognition, which was later disproved. BBN, IBM, Carnegie Mellon (CMU), and Stanford Research Institute participated. 1972 – The IEEE Acoustics, Speech, and Signal Processing group held a conference in Newton, Massachusetts. 1976 – The first ICASSP was held in Philadelphia, which became a major venue for publishing on speech recognition. During the late 1960s, Leonard Baum developed the mathematics of Markov chains at the Institute for Defense Analysis. A decade later, at CMU, Raj Reddy's students James Baker and Janet M. Baker began using the hidden Markov model (HMM) for speech recognition. James Baker had learned about HMMs while at the Institute for Defense Analysis. HMMs enabled researchers to combine sources of knowledge, such as acoustics, language, and syntax, in a unified probabilistic model. By the mid-1980s, Fred Jelinek's team at IBM created a voice-activated typewriter called Tangora, which could handle a 20,000-word vocabulary. Jelinek's statistical approach placed less emphasis on emulating human brain processes in favor of statistical modelling. (Jelinek's group independently discovered the application of HMMs to speech.) This was controversial among linguists since HMMs are too simplistic to account for many features of human languages. However, the HMM proved to be a highly useful way for modelling speech and replaced dynamic time warping as the dominant speech recognition algorithm in the 1980s. 1982 – Dragon Systems, founded by James and Janet M. Baker, was one of IBM's few competitors. === Practical speech recognition === The 1980s also saw the introduction of the n-gram language model. 1987 – The back-off model enabled language models to use multiple-length n-grams, and CSELT used HMM to recognize languages (in software and hardware, e.g. RIPAC). At the end of the DARPA program in 1976, the best computer available to researchers was the PDP-10 with 4 MB of RAM. It could take up to 100 minutes to decode 30 seconds of speech. Practical products included: 1984 – the Apricot Portable was released with up to 4096 words support, of which only 64 could be held in RAM at a time. 1987 – a recognizer from Kurzweil Applied Intelligence 1990 – Dragon Dictate, a consumer product released in 1990. AT&T deployed the Voice Recognition Call Processing service in 1992 to route telephone calls without a human operator. The technology was developed by Lawrence Rabiner and others at Bell Labs. By the early 1990s, the vocabulary of the typical commercial speech recognition system had exceeded the average human vocabulary. Reddy's former student, Xuedong Huang, developed the Sphinx-II system at CMU. Sphinx-II was the first to do speaker-independent, large vocabulary, continuous speech recognition, and it won DARPA's 1992 evaluation. Handling continuous speech with a large vocabulary was a major milestone. Huang later founded the speech recognition group at Microsoft in 1993. Reddy's student Kai-Fu Lee joined Apple, where, in 1992, he helped develop the Casper speech interface prototype. Lernout & Hauspie, a Belgium-based speech recognition company, acquired other companies, including Kurzweil Applied Intelligence in 1997 and Dragon Systems in 2000. L&H was used in Windows XP. L&H was an industry leader until an accounting scandal destroyed it in 2001. L&H speech technology was bought by ScanSoft, which became Nuance in 2005. Apple licensed Nuance software for its digital assistant Siri. ==== 2000s ==== In the 2000s, DARPA sponsored two speech recognition programs: Effective Affordable Reusable Speech-to-Text (EARS) in 2002, followed by Global Autonomous Language Exploitation (GALE) in 2005. Four teams participated in EARS: IBM; a team led by BBN with LIMSI and the University of Pittsburgh; Cambridge University; and a team composed of ICSI, SRI, and the University of Washington. EARS funded the collection of the Switchboard telephone speech corpus, which contained 260 hours of recorded conversations from over 500 speakers. The GALE program focused on Arabic and Mandarin broadcast news. Google's first effort at speech recognition came in 2007 after recruiting Nuance researchers. Its first product, GOOG-411, was a telephone-based directory service. Since at least 2006, the U.S. National Security Agency has employed keyword spotting, allowing analysts to index large volumes of recorded conversations and identify speech containing "interesting" keywords. Other government research programs focused on intelligence applications, such as DARPA's EARS program and IARPA's Babel program. In the early 2000s, speech recognition was dominated by hidden Markov models combined with feed-forward artificial neural networks (ANN). Later, speech recognition was taken over by long short-term memory (LSTM), a recurrent neural network (RNN) published by Sepp Hochreiter & Jürgen Schmidhuber in 1997. LSTM RNNs avoid the vanishing gradient problem and can learn "Very Deep Learning" tasks that require memories of events that happened thousands of discrete time steps earlier, which is important for speech. Around 2007, LSTMs trained with Connectionist Temporal Classification (CTC) began to outperform. In 2015, Google reported a 49 percent error‑rate reduction in its speech recognition via CTC‑trained LSTM. Transformers, a type of neural network based solely on attention, were adopted in computer vision and language modelling, and then to speech recognition. Deep feed-forward (non-recurrent) networks for acoustic modelling were introduced in 2009 by Geoffrey Hinton and his students at the University of Toronto, and by Li Deng and colleagues at Microsoft Research. In contrast to the prioer incremental improvements, deep learning decreased error rates by 30%. Both shallow and deep forms (e.g., recurrent nets) of ANNs had been explored since the 1980s. Howev

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  Trevor Paglen

  Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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  Trevor Paglen

  Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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  Plants vs. Zombies: Replanted

  Plants vs. Zombies: Replanted is a 2025 tower defense video game developed by PopCap Seattle, The Lost Pixels, and published by Electronic Arts. It is a remaster of the 2009 game Plants vs. Zombies, introducing upscaled graphics and new additional content. Plants vs. Zombies: Replanted was released for video game consoles and personal computers on October 23, 2025. It received generally positive reviews from critics, but was criticized by the original game's development team for including fabricated concept art and for mishandling the soundtrack. == Gameplay == Plants vs. Zombies: Replanted follows the same gameplay of the original Plants vs. Zombies game with very minor changes. It is a lane-based tower defense game where the player has to defend their home from incoming zombies. The player can place various plants by spending "sun", the game's currency during levels. Sun icons can be collected from the sky during daytime and from sun-producing plants such as sunflowers. Some plants can attack zombies while some can act as defense. If all zombies are defeated in a level, the player wins. If a zombie reaches the left side of the line, a lawn mower—or other similar, relevant object—will activate and clear the row of any zombies, but if the lawn mower has already been used, and another zombie crosses, the game is over. === Replanted features === Plants vs. Zombies: Replanted contains up to 4K upscaled graphics and widescreen support, in comparison to the original game's static 800x600 resolution and 4:3 aspect ratio. Replanted now has full controller support and features local multiplayer modes ported from the original game's seventh generation console ports: co-op, where two players play together with assigned roles; and Versus, where one plays as the plants and the other as the zombies. No online multiplayer is planned, however support for Steam Remote Play was later added in a patch as an alternative for Windows users. Replanted also contains quality-of-life features. Gameplay can now be sped up by the player's will, with a max speed increase of 2.5x. Sun icons can now be mass collected using the "Sun Magnet." On Windows, players can quick-select plants from their seed bank using the number keys as hotkeys. Replanted also introduces two new additional game modes. "Cloudy Day" is a set of non-linear levels in the Adventure campaign. These levels only allow Sunflowers as sun-producing plants. During these levels, the amount of sun dropped from the sky and produced by plants are lowered. At certain times, rain clouds will move over the lawn. While these clouds are present, sun will stop appearing from the sky and from Sunflowers. However, all plants will cost around half their original price and have significantly faster recharge times. "R.I.P. Mode" is a harder difficulty of the Adventure campaign, but the player is forced back to the beginning if they lose a single level. Replanted additionally features "bonus levels" included as non-linear levels in the Adventure campaign. These include 10 new minigames that were previously unused in the original game. In a later update, Replanted added "Survival: Endless" levels to all five areas of the game instead of just the daytime pool. == Development == The existence of a Plants vs. Zombies remaster was revealed in an interview with Janet Robin from The String Revolution, who they did a vinyl collaboration with the franchise in 2025 with Iam8bit. Janet stated that EA commissioned them to record an acoustic composition of the track "Crazy Dave" to be used for an "anniversary edition" of the game. The song would be additionally be a tribute to the song "Bad Guy", which artist Billie Eilish has stated to be somewhat similar to the track. Plants vs. Zombies Replanted was officially announced in a Nintendo Direct presentation in late July 2025. As an incentive, people who pre-ordered the game are given an in-game retro-styled skin of the Peashooter. Replanted was showcased at PAX West on August 25, 2025. A dev diary for Plants vs. Zombies: Replanted was uploaded to YouTube on October 17, 2025. The video features Nick Reinhart, Jake Neri, and Matt Townsend. A developer panel for the game was available during TwitchCon 2025. == Release == Plants vs. Zombies: Replanted was released for Nintendo Switch, Nintendo Switch 2, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X and Series S, and personal computers on October 23, 2025. It was leaked onto the internet on October 17, 2025. Players discovered multiple software bugs, and multiple assets alleged to be upscaled by generative artificial intelligence were found, leading to backlash. Numerous bugs were fixed in a day-one patch on October 23, 2025. == Reception == === Critical response === The versions of Plants vs. Zombies: Replanted for Windows, PlayStation 5, and Nintendo Switch 2 received "generally favorable" reviews from critics, according to review aggregator website Metacritic, while the Xbox Series X version received "mixed or average" reviews. According to OpenCritic, 57% of critics recommended it. IGN's Alessandro Fillari called it "a good way to get re-acquainted with one of the quirkiest puzzle-strategy games of the 2000s", while acknowledging its questionable decisions. Shacknews' David Craddock said it was his favorite version of Plants vs. Zombies, stating, "it packs everything fans loved about the original game, plus lots more" while justifying its US$20 price. The Verge described Replanted as "a time capsule from a simpler, happier time". Kyle Hilliard from Game Informer praised its faithfulness, complimenting the new animations and character designs that did not alter its memorability. Noah Hunter for Final Weapon described the remake as solid, though criticized the lack of certain features and containing bugs that gate it from being excellent. Ben Lyons from Gamereactor stated Replanted is the same as the original overall, despite believing the £18 price is not justified. === Original developers === Rich Werner, the original game's character designer, claims that some concept art contained in the game, speculated to be for Plants vs. Zombies: Garden Warfare (2014), did not originate from the original's development. Werner also stated that concept art for the Disco Zombie is fabricated; the design for the Disco Zombie was created after the estate of Michael Jackson requested the original Dancing Zombie, who resembles Michael Jackson from his Thriller music video, be removed from the game. On October 19, 2026, composer Laura Shigihara expressed her dissatisfaction with the lack of dynamic music in the game. Dynamic music would later be implemented in a later patch. In an interview featuring Rich Werner and user interface designer Matt Holmberg on April 29, 2026, Werner revealed that he and Shigihara were contacted by EA to make a music video to market Replanted. However, after the game was leaked, Werner's response on social media led EA to cancel the collaboration.

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  Dyme (company)

  Dyme is a Dutch fintech start-up and subscription management app that allows users to cancel and renegotiate their recurring costs. In 2019, Dyme was the first independent Dutch company to receive a PSD2 licence from the Netherlands' central bank (DNB). == History == Dyme was founded in 2018 by Joran Iedema, David Knap, David Schogt and Wouter Florijn. The four had previously founded Cycleswap, a bicycle rental platform launched in 2015 and sold to the American platform Spinlister in 2016. The company gained notability in the Netherlands in 2020 when it appeared on Dutch television in Dragons Den, where Pieter Schoen made a €750,000 bid in an attempt to acquire 51.01% of the company. Dyme's Joran Iedema rejected the deal. == Recognition == Wired described Dyme as one of the "hottest start-ups in Europe" in 2021. As of 2021, the company reportedly had 350,000 registered users in the Netherlands and Great Britain.

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  Taylor Swift deepfake pornography controversy

  In late January 2024, sexually explicit AI-generated deepfake images of American musician Taylor Swift were proliferated on social media platforms 4chan and X (formerly Twitter). Several artificial images of Swift of a sexual or violent nature were quickly spread, with one post reported to have been seen over 47 million times before its eventual removal. The images led Microsoft to enhance Microsoft Designer's text-to-image model to prevent future abuse. Moreover, these images prompted responses from anti-sexual assault advocacy groups, US politicians, Swifties, and Microsoft CEO Satya Nadella, among others, and it has been suggested that Swift's influence could result in new legislation regarding the creation of deepfake pornography. A similar controversy emerged in August 2025, when The Verge reported AI image and video tool Grok Imagine generated sexually explicit images and videos of Swift from an otherwise innocuous text prompt. == Background == American musician Taylor Swift has been the target of misogyny and slut-shaming throughout her career. American technology corporation Microsoft offers AI image creators called Microsoft Designer and Bing Image Creator, which employ censorship safeguards to prevent users from generating unsafe or objectionable content. Members of a Telegram group discussed ways to circumvent these censors to create pornographic images of celebrities. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. == Reactions == For some, the deepfake images of Swift immediately became a source of controversy and outrage. Other internet users found them humorous and absurd, such as the image making it appear as though Swift was to engage in sexual intercourse with Oscar the Grouch. The images drew condemnations from Rape, Abuse & Incest National Network and SAG-AFTRA. The latter group, who had been following issues regarding AI-generated media prior to Swift's involvement, considered the images "upsetting, harmful and deeply concerning." Microsoft CEO Satya Nadella, whose company's products were believed to be used to make these images, responded to the controversy as "alarming and terrible", further stating his belief that "we all benefit when the online world is a safe world." === Taylor Swift === A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." === Politicians === White House press secretary Karine Jean-Pierre expressed concern over the counterfeit images, deeming them "alarming", and emphasized the obligation of social media platforms to curb the dissemination of misinformation. Several members of American politics called for legislation against AI-generated pornography. Later in the month, a bipartisan bill was introduced by US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley. The bill would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made without consent. The European Union struck a deal in February 2024 on a similar bill that would criminalize deepfake pornography, as well as online harassment and revenge porn, by mid-2027. === Social media platforms === X responded to the sharing of these images on their own website with claims they would suspend accounts that participated in their spread. Despite this, the photos continued to be reshared among accounts of X, and spread to other platforms including Instagram and Reddit. X enforces a "synthetic and manipulated media policy", which has been criticized for its efficacy. They briefly blocked searches of Swift's name on January 27, 2024, reinstating them two days later. === Swifties === Fans of Taylor Swift, known as Swifties, responded to the circulation of these images by pushing the hashtag #ProtectTaylorSwift to trend on X. They also flooded other hashtags related to the images with more positive images and videos of her live performances. == Cultural significance == Deepfake pornography has remained highly controversial and has affected figures from other celebrities to ordinary people, most of whom are women. Journalists have opined that the involvement of a prominent public figure such as Swift in the dissemination of AI-generated pornography could bring public awareness and political reform to the issue.

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  Miss AI

  Miss AI is an annual international artificial intelligence beauty pageant run by the British company Fanvue. It is the first beauty pageant for AI-generated personas. == History == Miss AI's inaugural contest was organized by Fanvue as a part of the World AI Creator Awards (WAICAs) in 2024. The winner is selected by a panel of judges which consists of both humans and AI-generated individuals. The Moroccan virtual influencer Kenza Layli was crowned with the inaugural title while Lalina Valina and Olivia C remained the first and second runners-up respectively. == Competition == The creators are eligible to take part in this competition as long as the models are entirely AI-generated and have a social media presence. The judges evaluate contestants' three main categories – Beauty, Tech, & Social clout and rank them according the overall points earned from these categories. The Guardian commented that "AI models take every toxic gendered beauty norm and bundle them up into completely unrealistic package". == Winners ==

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  Emma Hart (computer scientist)

  Professor Emma Hart, FRSE (born 1967) is an English computer scientist known for her work in artificial immune systems (AIS), evolutionary computation and optimisation. She is a professor of computational intelligence at Edinburgh Napier University, editor-in-chief of the Journal of Evolutionary Computation (MIT Press), and D. Coordinator of the Future & Emerging Technologies (FET) Proactive Initiative, Fundamentals of Collective Adaptive Systems. == Early life and education == Hart was born in Middlesbrough, England in 1967. In 1990 she graduated from the University of Oxford with a first class BA(Hons) in Chemistry. She then continued her studies at the University of Edinburgh, graduating with an MSc in Artificial Intelligence in 1994, followed by a PhD that explored the use of immunology as an inspiration for computing, examining a range of techniques applied to optimization and data classification problems. Her dissertation was titled Immunology as a metaphor for computational information processing: Fact or fiction?, and her doctoral advisor was Peter Ross. == Career == In 2000 Hart took a position as a lecturer at Edinburgh Napier University, and was promoted to a Reader, Professor, and in 2008 Chair in Natural Computation. She is now director of the Centre of Algorithms, Visualisation and Evolving Systems (CAVES) group in the School of Computing. She continues to research in the area of developing novel bio-inspired techniques for solving a range of real-world optimisation and classification problems, as well as exploring the fundamental properties of immune-inspired computing through modelling and simulation. She is also involved in editorial activity and currently occupies the position of Editor-in-Chief of the Journal of Evolutionary Computation (MIT Press). Her interests lie in the area of bio-inspired computing, in particular artificial immune systems (AIS). She also undertakes research in three main areas: optimisation, self-organising/self-adaptive systems, and artificial intelligence. Hart is D. Coordinator of Fundamentals of Collective Adaptive Systems (FoCAS), a Future and Emerging Technologies Proactive Initiative funded by the European Commission under FP7. == Selected works == === Conference talks === Hart, Emma. "Lifelong learning in optimization (video)". 28th European Conference on Operational Research. The Association of European Operational Research Societies. Hart, Emma (December 2021). "Self-assembling robots and the potential of artificial evolution". TED talk 2021. === Journal articles === "An immune system approach to scheduling in changing environments". E.Hart, P.Ross. 1999. Proceedings of the 1st Annual Conference on Genetic and Evolutionary Computation (2), 1559–1566. "Exploiting the analogy between immunology and sparse distributed memories: A system for clustering non-stationary data". E.Hart, P.Ross. 2002. 1st International Conference on Artificial Immune Systems. "Evolutionary scheduling: A review". E Hart, P Ross, D Corne. 2005. Genetic Programming and Evolvable Machines 6(2), 191–220. DOI: https://doi.org/10.1007/s10710-005-7580-7 "Application areas of AIS: The past, the present and the future". E.Hart, J.Timmis. 2008. Applied soft computing 8(1), 191–201. DOI: https://doi.org/10.1016/j.asoc.2006.12.004 "Structure versus function: a topological perspective on immune networks". E.Hart, H.Bersini, F.Santos. 2010. Natural computing 9(3), 603–624. DOI: https://doi.org/10.1007/s11047-009-9138-8 "On the life-long learning capabilities of a nelli: A hyper-heuristic optimisation system". E.Hart, K.Sim. 2014. International Conference on Parallel Problem Solving from Nature, 282–291. DOI: https://doi.org/10.1007/978-3-319-10762-2_28 "A hyper-heuristic ensemble method for static job-shop scheduling". E.Hart, K.Sim. 2016. Evolutionary computation 24(4), 609-635. DOI: https://dx.doi.org/10.1162/EVCO_a_00183 == Awards and recognition == 2016, Featured article on Lifelong Learning in Optimisation, IFORS newsletter 2016, "A Combined Generative and Selective Hyper-heuristic for the Vehicle Routing Problem" presented at GECCO 2016 (Denver, USA), ACM 2016, "A Hybrid Parameter Control Approach Applied to a Diversity-based Multi-objective Memetic Algorithm for Frequency Assignment Problems" presented at WCCI 2016 (Vancouver, Canada), IEEE 2017, Keynote Speaker, 2017 International Joint Conference on Computational Intelligence 2018, Bronze Award in International Human-Competitive Awards (Humies), International Conference on Genetic and Evolutionary Computation, Kyoto Japan 2018, Nomination for best paper award, GECCO 18, Kyoto, Japan 2022, Elected Fellow of the Royal Society of Edinburgh

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  Noisy text analytics

  Noisy text analytics is a process of information extraction whose goal is to automatically extract structured or semistructured information from noisy unstructured text data. While Text analytics is a growing and mature field that has great value because of the huge amounts of data being produced, processing of noisy text is gaining in importance because a lot of common applications produce noisy text data. Noisy unstructured text data is found in informal settings such as online chat, text messages, e-mails, message boards, newsgroups, blogs, wikis and web pages. Also, text produced by processing spontaneous speech using automatic speech recognition and printed or handwritten text using optical character recognition contains processing noise. Text produced under such circumstances is typically highly noisy containing spelling errors, abbreviations, non-standard words, false starts, repetitions, missing punctuations, missing letter case information, pause filling words such as “um” and “uh” and other texting and speech disfluencies. Such text can be seen in large amounts in contact centers, chat rooms, optical character recognition (OCR) of text documents, short message service (SMS) text, etc. Documents with historical language can also be considered noisy with respect to today's knowledge about the language. Such text contains important historical, religious, ancient medical knowledge that is useful. The nature of the noisy text produced in all these contexts warrants moving beyond traditional text analysis techniques. == Techniques for noisy text analysis == Missing punctuation and the use of non-standard words can often hinder standard natural language processing tools such as part-of-speech tagging and parsing. Techniques to both learn from the noisy data and then to be able to process the noisy data are only now being developed. == Possible source of noisy text == World Wide Web: Poorly written text is found in web pages, online chat, blogs, wikis, discussion forums, newsgroups. Most of these data are unstructured and the style of writing is very different from, say, well-written news articles. Analysis for the web data is important because they are sources for market buzz analysis, market review, trend estimation, etc. Also, because of the large amount of data, it is necessary to find efficient methods of information extraction, classification, automatic summarization and analysis of these data. Contact centers: This is a general term for help desks, information lines and customer service centers operating in domains ranging from computer sales and support to mobile phones to apparels. On an average a person in the developed world interacts at least once a week with a contact center agent. A typical contact center agent handles over a hundred calls per day. They operate in various modes such as voice, online chat and E-mail. The contact center industry produces gigabytes of data in the form of E-mails, chat logs, voice conversation transcriptions, customer feedback, etc. A bulk of the contact center data is voice conversations. Transcription of these using state of the art automatic speech recognition results in text with 30-40% word error rate. Further, even written modes of communication like online chat between customers and agents and even the interactions over email tend to be noisy. Analysis of contact center data is essential for customer relationship management, customer satisfaction analysis, call modeling, customer profiling, agent profiling, etc., and it requires sophisticated techniques to handle poorly written text. Printed Documents: Many libraries, government organizations and national defence organizations have vast repositories of hard copy documents. To retrieve and process the content from such documents, they need to be processed using Optical Character Recognition. In addition to printed text, these documents may also contain handwritten annotations. OCRed text can be highly noisy depending on the font size, quality of the print etc. It can range from 2-3% word error rates to as high as 50-60% word error rates. Handwritten annotations can be particularly hard to decipher, and error rates can be quite high in their presence. Short Messaging Service (SMS): Language usage over computer mediated discourses, like chats, emails and SMS texts, significantly differs from the standard form of the language. An urge towards shorter message length facilitating faster typing and the need for semantic clarity, shape the structure of this non-standard form known as the texting language.

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  I Have No Mouth, and I Must Scream

  "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  Trevor Paglen

  Trevor Paglen (born 1974) is an American artist, geographer, and author whose work covers mass surveillance and data collection. In 2016, Paglen won the Deutsche Börse Photography Foundation Prize and he has also won The Cultural Award from the German Society for Photography. In 2017, he was a recipient of a MacArthur Fellowship. On March 17, 2026, Paglen was awarded the 2026 LG Guggenheim Award (a collaboration between LG and Guggenheim New York). == Early life and education == Paglen earned a B.A. degree in religious studies in 1998 from the University of California at Berkeley, a M.F.A. degree in 2002 from the School of the Art Institute of Chicago, and a Ph.D. in Geography in 2008 from the University of California at Berkeley. While at UC Berkeley, Paglen lived in the Berkeley Student Cooperative, residing in Chateau, Fenwick, and Rochdale co-ops. == Work == Sean O'Hagan, writing in The Guardian in 2015, said that Paglen, whose "ongoing grand project [is] the murky world of global state surveillance and the ethics of drone warfare", "is one of the most conceptually adventurous political artists working today, and has collaborated with scientists and human rights activists on his always ambitious multimedia projects." His visual work such as his "Limit Telephotography" and "The Other Night Sky" series have received widespread attention for both his technical innovations and for his conceptual project that involves simultaneously making and negating documentary-style truth-claims. Paglen’s work relies on contemporary technology in two meaningful ways. Firstly, the views he photographs would be impossible to shoot without media tech, that includes the cameras, the microscopes, and even helicopters. But interestingly enough, the shots would not be possible if not for the existence of the subject. The contrasts between secrecy and revelation, evidence and abstraction distinguish Paglen's work. With that the artist presents not so much "evidence" as admonitions to awareness. He was an Eyebeam Commissioned Artist in 2007. In 2008 the Berkeley Art Museum devoted a comprehensive solo exhibition to his work. In the next year, Paglen took part in the Istanbul Biennial, and in 2010 he exhibited at the Vienna Secession. Autonomy Cube was a project by Paglen and Jacob Appelbaum that placed relays for the anonymous communication network Tor in traditional art museums. He contributed to the Oscar-winning documentary film Citizenfour (2014), directed by Laura Poitras. Paglen features in the nerd-culture documentary Traceroute (2016). Orbital Reflector was a reflective, mylar sculpture by Paglen intended to be the first "purely artistic" object in space. The temporary satellite, containing an inflatable mylar balloon with reflective surface, launched into space 3 December 2018. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and the Museum of Contemporary Art San Diego. In September 2020, Pace Gallery in London held an exhibition of Paglen's work, exploring "the weird, partial ways computers look back at us". His work is included in the permanent collections of the San Francisco Museum of Modern Art, the Columbus Museum of Art, and the Metropolitan Museum. === Experimental Geography === Paglen is credited with coining the term "Experimental Geography" to describe practices coupling experimental cultural production and art-making with ideas from critical human geography about the production of space, materialism, and praxis. The 2009 book Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism is largely inspired by Paglen's work. == Publications == Paglen has published a number of books. Torture Taxi (2006) (co-authored with investigative journalist A. C. Thompson) was the first book to comprehensively describe the CIA's extraordinary rendition program. I Could Tell You But Then You Would Have to be Destroyed by Me (2007), is a look at the world of black projects through unit patches and memorabilia created for top-secret programs. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World (2009) is a broader look at secrecy in the United States. The Last Pictures (2012) is a collection of 100 images to be placed on permanent media and launched into space on EchoStar XVI, as a repository available for future civilizations (alien or human) to find. === Publications by Paglen === I Could Tell You But Then You Would Have to be Destroyed by Me. Brooklyn, NY: Melville House, 2007. ISBN 1-933633-32-8. Blank Spots on the Map: The Dark Geography of the Pentagon's Secret World. New York: Dutton, 2009. ISBN 9781101011492. Invisible: Covert Operations and Classified Landscapes, Photographs by Trevor Paglen. New York: Aperture, 2010. ISBN 9781597111300. With an essay by Rebecca Solnit. The Last Pictures. Oakland, CA: University of California, 2012. ISBN 9780520275003. Trevor Paglen. London: Phaidon, 2018. ISBN 0714873446. With essays by Laren Cornell, Julia Bryan-Wilson, Omar Kholeif. === Publications co-authored === Torture Taxi. Co-authored with A. C. Thompson. Brooklyn, NY: Melville House Publishing, 2006. ISBN 1-933633-09-3. Icon, 2007. ISBN 9781840468304. === Publications with contributions by Paglen === Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. Brooklyn, NY: Melville House, 2009. ISBN 978-0091636586. Edited by Nato Thompson. With essays by Paglen, Thompson, and Jeffrey Kastner. Trevor Paglen and Jacob Appelbaum – Autonomy Cube. Revolver, 2016. ISBN 978-3957633026. Essays by Luke Skrebowski and Keller Easterling on Autonomy Cube, a piece of sculpture by Paglen and Jacob Appelbaum. In English and German. == Exhibitions == Bellwether Gallery, New York, November–December 2006 The Other Night Sky, Berkeley Art Museum, 2008 A Compendium of Secrets, Cologne Still Revolution: Suspended in Time, Museum of Contemporary Canadian Art, Toronto, May–June 2009. Group exhibition with Paglen, Barbara Astman, Walead Beshty, Mat Collishaw, Stan Douglas, Idris Khan, Martha Rosler, and Mikhael Subotzky A Hidden Landscape, Aksioma, Ljubljana, Slowenia Geographies of Seeing, Lighthouse, Brighton, England, October–November 2012 The Last Pictures, New York, 2012–13 Trevor Paglen, Altman Siegel gallery, San Francisco, CA, March–May 2015 The Octopus, Frankfurter Kunstverein, Frankfurt am Main, 2015 Autonomy Cube, Edith-Russ-Haus, Oldenburg, Germany, October 2015 – January 2016. Sculpture by Paglen and Jacob Appelbaum. Deutsche Börse Photography Foundation Prize 2016, The Photographers' Gallery, London, April–July 2016. Deutsche Börse Photography Prize shortlist with Paglen, Erik Kessels, Laura El-Tantawy, and Tobias Zielony. Radical Landscapes, di Rosa, Napa, February–April 2016 L’Image volée, Americas II, Bahamas Internet Cable System (BICS-1) and Globenet, Fondazione Prada, Milan (group exhibition), 2016 A Study of Invisible Images, Metro Pictures, New York, September–October 2017 == Awards == 2014: Pioneer Award from the Electronic Frontier Foundation. 2015: The Cultural Award from the German Society for Photography (DGPh) 2015: Academy Award as cameraman and director for the documentary film Citzenfour. 2016: Deutsche Börse Photography Foundation Prize 2017: MacArthur Fellowship, John D. and Catherine T. MacArthur Foundation, Chicago, IL 2018: Nam June Paik Art Center Prize == Films about Paglen == Unseen Skies (2021) == Works ==

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  Clanker

  Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.

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  Artificial intelligence

  Artificial intelligence (AI) is the capability of computational systems to perform tasks typically associated with human intelligence, such as learning, reasoning, problem-solving, perception, and decision-making. It is a field of research in engineering, mathematics and computer science that develops and studies methods and software that enable machines to perceive their environment and use learning and intelligence to take actions that maximize their chances of achieving defined goals. High-profile applications of AI include advanced web search engines, chatbots, virtual assistants, autonomous vehicles, and play and analysis in strategy games (e.g., chess and Go). Since the 2020s, generative AI has become widely available to generate images, audio, and videos from text prompts. The traditional goals of AI research include learning, reasoning, knowledge representation, planning, natural language processing, and perception, as well as support for robotics. To reach these goals, AI researchers have used techniques including state space search and mathematical optimization, formal logic, artificial neural networks, and methods based on statistics, operations research, and economics. AI also draws upon psychology, linguistics, philosophy, neuroscience, and other fields. Some companies, such as OpenAI, Google DeepMind and Meta, aim to create artificial general intelligence (AGI) – AI that can complete virtually any cognitive task at least as well as a human. Artificial intelligence was founded as an academic discipline in 1956, and the field went through multiple cycles of optimism throughout its history, followed by periods of disappointment and loss of funding, known as AI winters. Funding and interest increased substantially after 2012, when graphics processing units began being used to accelerate neural networks, and deep learning outperformed previous AI techniques. This growth accelerated further after 2017 with the transformer architecture. In the 2020s, an AI boom has coincided with advances in generative AI, which allowed for the creation and modification of media. In addition to AI safety and unintended consequences and harms from the use of AI, ethical concerns, AI's long-term effects, and potential existential risks have prompted discussions of AI regulation. == Goals == The general problem of simulating (or creating) intelligence has been broken into subproblems. These consist of particular traits or capabilities that researchers expect an intelligent system to display. The traits described below have received the most attention and cover the scope of AI research. === Reasoning and problem-solving === Early researchers developed algorithms that imitated step-by-step reasoning that humans use when they solve puzzles or make logical deductions. By the late 1980s and 1990s, methods were developed for dealing with uncertain or incomplete information, employing concepts from probability and economics. Many of these algorithms are insufficient for solving large reasoning problems because they experience a "combinatorial explosion": They become exponentially slower as the problems grow. Even humans rarely use the step-by-step deduction that early AI research could model. They solve most of their problems using fast, intuitive judgments. Accurate and efficient reasoning is an unsolved problem. === Knowledge representation === Knowledge representation and knowledge engineering allow AI programs to answer questions intelligently and make deductions about real-world facts. Formal knowledge representations are used in content-based indexing and retrieval, scene interpretation, clinical decision support, knowledge discovery (mining "interesting" and actionable inferences from large databases), and other areas. A knowledge base is a body of knowledge represented in a form that can be used by a program. An ontology is the set of objects, relations, concepts, and properties used by a particular domain of knowledge. Knowledge bases need to represent things such as objects, properties, categories, and relations between objects; situations, events, states, and time; causes and effects; knowledge about knowledge (what we know about what other people know); default reasoning (things that humans assume are true until they are told differently and will remain true even when other facts are changing); and many other aspects and domains of knowledge. Among the most difficult problems in knowledge representation are the breadth of commonsense knowledge (the set of atomic facts that the average person knows is enormous); and the sub-symbolic form of most commonsense knowledge (much of what people know is not represented as "facts" or "statements" that they could express verbally). There is also the difficulty of knowledge acquisition, the problem of obtaining knowledge for AI applications. === Planning and decision-making === An "agent" is any entity (artificial or not) that perceives and takes actions in the world. A rational agent has goals or preferences and takes actions to make them happen. In automated planning, the agent has a specific goal. In automated decision-making, the agent has preferences—there are some situations it would prefer to be in, and some situations it is trying to avoid. The decision-making agent assigns a number to each situation (called the "utility") that measures how much the agent prefers it. For each possible action, it can calculate the "expected utility": the utility of all possible outcomes of the action, weighted by the probability that the outcome will occur. It can then choose the action with the maximum expected utility. In classical planning, the agent knows exactly what the effect of any action will be. In most real-world problems, however, the agent may not be certain about the situation they are in (it is "unknown" or "unobservable") and it may not know for certain what will happen after each possible action (it is not "deterministic"). It must choose an action by making a probabilistic guess and then reassess the situation to see if the action worked. Alongside thorough testing and improvement based on previous decisions, having an explanation for why the agent took certain decisions is a way to build trust, especially when the decisions have to be relied upon. In some problems, the agent's preferences may be uncertain, especially if there are other agents or humans involved. These can be learned (e.g., with inverse reinforcement learning), or the agent can seek information to improve its preferences. Information value theory can be used to weigh the value of exploratory or experimental actions. The space of possible future actions and situations is typically intractably large, so the agents must take actions and evaluate situations while being uncertain of what the outcome will be. A Markov decision process has a transition model that describes the probability that a particular action will change the state in a particular way and a reward function that supplies the utility of each state and the cost of each action. A policy associates a decision with each possible state. The policy could be calculated (e.g., by iteration), be heuristic, or it can be learned. Game theory describes the rational behavior of multiple interacting agents and is used in AI programs that make decisions that involve other agents. === Learning === Machine learning is the study of programs that can improve their performance on a given task automatically. It has been a part of AI from the beginning. There are several kinds of machine learning. Unsupervised learning analyzes a stream of data and finds patterns and makes predictions without any other guidance. Supervised learning requires labeling the training data with the expected answers, and comes in two main varieties: classification (where the program must learn to predict what category the input belongs in) and regression (where the program must deduce a numeric function based on numeric input). In reinforcement learning, the agent is rewarded for good responses and punished for bad ones. The agent learns to choose responses that are classified as "good". Transfer learning is when the knowledge gained from one problem is applied to a new problem. Deep learning is a type of machine learning that runs inputs through biologically inspired artificial neural networks for all of these types of learning. Computational learning theory can assess learners by computational complexity, by sample complexity (how much data is required), or by other notions of optimization. === Natural language processing === Natural language processing (NLP) allows programs to read, write and communicate in human languages. Specific problems include speech recognition, speech synthesis, machine translation, information extraction, information retrieval and question answering. Early work, based on Noam Chomsky's generative grammar and semantic networks, had difficulty with word-sense disambiguation unless

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  Emi Kusano

  Emi Kusano (Japanese: 草野 絵美, Hepburn: Kusano Emi; born August 4, 1990) is a Tokyobased Japanese multidisciplinary artist known for creating photography, video, and installations using generative AI technology. Her work explores themes of nostalgia, pop culture, and collective memory. Her work explores themes of nostalgia, pop culture, and collective memory. She is recognized as one of the early practitioners of generative AI art. Her work has been exhibited at the 21st Century Museum of Contemporary Art, Kanazawa, and screened at the M+ Museum’s Asian Avant-Garde Film Festival. Additionally, she has participated in prestigious international art fairs, including Paris Photo and Art Basel Hong Kong. In 2025, she was named one of the World Economic Forum's Young Global Leaders. In 2026, she was selected as a fellow for the AI x Arts Fellowship at Mohamed bin Zayed University of Artificial Intelligence. Kusano serves as a part-time lecturer at the Tokyo University of the Arts and is the producer and vocalist for the Synthwave music unit, Satellite Young. == Early life == === Photography === Kusano was born and raised in Tokyo. Kusano's career began during her high school years before 2008 when she became involved in street fashion photography. Her photographs, primarily taken in Harajuku, were published on "Japanese Streets", "Metropolis", CNN's travel guide magazine "CNN GO","WGSN". Her photography was exhibited at the FIT Museum in New York and the Victoria and Albert Museum in London. == Career == === Music and Installation work === Since 2014, in collaboration with BelleMaison Sekine, Kusano has led "Satellite Young," a synthwave music unit s the lead vocalist, she sings about blending 1980s idol culture with lyrics that tackle contemporary issues such as planned obsolescence ("Sony Timer"), online dating, artificial intelligence, and social media. Their music, known for its conceptual depth, has earned international niche recognition. "Satellite Young" has participated in music festivals, including "South by Southwest," showcasing their unique fusion of retro aesthetics and modern critiques. In 2018, she was selected to participate in "Art Hack Day," an interdisciplinary art hackathon held at The National Museum of Emerging Science and Innovation. where she presented "Singing Dream," a karaoke machine endowed with artificial life, earning the Jury Prize. "Instababy Generator," a 2019 installation co-created with Junichi Yamaoka, explored the concept of designer babies and received recognition at the SIGGRAPH Art Gallery. In October 2020, operating under the name Emi Satellite, she debuted as a solo singer with her first single "Glass Ceiling," an empowerment anthem that addresses the challenges faced by women and encourages progress towards the future. The music video for this song features a direction where strong women rewrite the roles of protagonists in a Bishōjo game, a type of dating simulation game. This concept later served as a prototype for Shinsei Galverse. === Challenge for Blockchain Art === In 2021, she explored the financial world through her single "IPO" and entered the NFT space with "Love Is an IPO," her first NFT work on Ethereum, sold on Foundation. In April 2022, she co-founded the crowdfunded anime project "Shinsei Galverse" with Ayaka Ohira, Devin Mancuso, and Jack Baldwin. serving as one of the executive directors overseeing the creative direction and story. The project's NFT collection of 8,888 ranked #1 on OpenSea's "Top NFTs" for several days, marking one of Japan's first globally successful blockchain art projects. In 2023, Shinsei Galverse produced the official "I like u" music video by Grammy-nominated singer Tove Lo as an initial anime endeavor. Kusano also contributed to discussions on Web3.0 and blockchain technology as a panelist in seminars organized by the Digital Agency of Japan. === AI art === In May 2023, Kusano's first AI art collection "Neural Fad" depicting imaginary fashion history sold out 100 pieces within 24 hours at the "Bright Moments Tokyo" In June, she created WWDJAPAN's first AI-generated magazine cover using her own face. It is the first AI cover in Japanese fashion media. She was also appointed t to the Cultural Affairs Agency's Copyright Subcommittee, she participates in discussions on generative AI and copyright. Her "Synthetic Reflections" self-portrait series debuted on SuperRare, with the first piece auctioned for 3.5 ETH (equivalent to 6,480 US dollars at the time). In July 2023, she co-exhibited a 3D AI-generated dress at Christie's "Future Frequencies" auction with Gucci, alongside Claire Silver. In September, her 30-piece "Pixelated Perception" exhibit at Art Blocks Marfa explored 1990s media and gender, also showcased at the 21st Century Museum of Contemporary Art, Kanazawa. In December, her "Techno-Animism" AI art collection fused Japanese animism with technology. Collaborating with a U.S. gallery, she unveiled 336 pieces during a two-week Art Basel world tour. Throughout the two-week tour, she sold a total of 336 pieces, generating 11.2 ETH (equivalent to 21,264 US dollars at the time). === Generative art === In February 2024, the generative art platform Art Blocks selected the work "Melancholic Magical Maiden," for its Curated category. This piece reconstructs the aesthetics of 1990s magical girl anime, offering a critique of past anime heroines. It sold out within an hour, with all 300 pieces going for a total of 57 ETH (equivalent to approximately 215,385US dollars at the time). In April 2024, Emi Kusano spoke at the Standing Committee on Copyright and Other Rights at the World Intellectual Property Organization (WIPO) in Geneva, Switzerland, where she presented AI-specific information for discussion. == Style and technique == Kusano draws inspiration from Japanese retro-futurism as a foundation for her artwork, which explores the cutting-edge of technology. This approach is fueled by nostalgia for the pre-internet era, specifically the postwar period when Japanese mass media held significant sway. By blending modern technology with retro-culture, she captures the complex feelings of love, hate, and ambivalence towards present and future accelerationism. While at university, Kusano was profoundly influenced by Naoki Sakai, the industrial designer responsible for igniting the retro-futurism movement. In her musical project "Satellite Young", Kusano dons the persona of an '80s female idol and sings about contemporary technology. In her installation piece "Singing Dream", she investigates the concept of an artificial life form inhabiting a karaoke machine, which has been popular since the 1980s, compelling people to sing. In the collaborative NFT art project "Shinsei Galverse", Kusano reimagines a cyberpunk anime primarily featuring female characters, incorporating elements of magical girls popular in the early Heisei period. == Personal life == Kusano has two sons. In August 2021, she minted her older son Zombie Zoo Keeper's pixel art on "OpenSea" as part of his summer research project. The artwork was purchased by notable figures including Brud CEO Trevor McFedries and Steve Aoki, who bought the piece for the equivalent of 21.82 thousand US dollars, highlighting the intersection of art, technology, and family in her work.

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  Padre Pio (2022 film)

  Padre Pio is a 2022 biographical drama film co-written and directed by Abel Ferrara. It stars Shia LaBeouf as the titular role of Padre Pio, a Capuchin Franciscan priest who receives the stigmata, in the background of the World War I in Italy. The film is a co-production of Italy, Germany and the United Kingdom. During its production, LaBeouf converted to Catholicism as result of his spiritual experiences in character as Pio, who is venerated as a saint by the Catholic Church. The film had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It was released theatrically in the United Kingdom on 26 January 2024 by Dazzler Media and in Italy on 18 July 2024 by RS Productions. == Plot == It is the year 1920. Italian WWI veterans have returned to their impoverished villages. Padre Pio arrives at San Giovanni Rotondo after living with his family in Pietrelcina for a number of years. While still sick, he continues to encounter Satan. Satan reveals himself as the instigator of the war and the sociopolitical problems of San Giovanni. While having little contact with the people of this town, Padre Pio learns what the poor are suffering from in the Sacrament of Confession and the Holy Mass, such as when a crippled man walks again because of Padre Pio's prayer. Besides the effects of war, such as medical inadequacy, health conditions and labourers dying from the effects of mustard gas, the people suffer from corrupt, wealthy landowners. Gerardo, a militaristic anti-socialist, threatens to kill any communal labourers tending his land. Many of them join the socialist party as a way to improve their lives. However, after they win the first free election in San Giovanni, Gerardo's forces massacre many of them. Padre Pio asks God that he may become a suffering servant for their salvation. He receives the wounds of Jesus Christ. The stigmata disrupts Satan's influence on San Giovanni Rotondo. == Cast == Shia LaBeouf as Padre Pio Marco Leonardi as Gerardo Salvatore Ruocco as Vincenzo Cristina Chiriac as Giovanna Brando Pacitto as Renato Luca Lionello as Silvestro Asia Argento as Tall Man == Production == According to Abel Ferrara, actor Willem Dafoe suggested that Shia LaBeouf should be cast for the film's leading role. After Ferrara held several Zoom calls with LaBeouf, the latter agreed to join the film, even though very little money was raised (the film was almost never made) and LaBeouf did the project for free. LaBeouf arrived at Old Mission Santa Inés in July 2021 to learn about Padre Pio with the Capuchin Franciscan friars. Thanks to Father Bobby Barbato and Brother Jude Quinto, Br. Alexander Rodriguez met LaBeouf while he attended Mass every day. He learned about the Catholic Church and the Capuchins while living in his truck or spending a few nights in the Capuchin's guest room. He was immersing himself in the Catholic faith. He enrolled in RCIA, revised the script with Rodriguez and trained to do the Latin Mass. Rodriguez traveled with LaBeouf as his spiritual adviser and catechist and was in the film as Padre Pio's companion. Filming occurred in Apulia, Italy, in December 2021. The first place was at the Capuchin friary in San Marco la Catola. Padre Pio exchanged letters with his provincial and spiritual director while living in Pietrelcina with his family. The time was around 1909–1916. Both directors were living in San Marco during these years. Padre Pio expressed in his letters his deep and mysterious relationship with God and health difficulties. This event is in the film. While filming, LaBeouf slept in Padre Pio's bedroom. After San Marco, filming continued outside the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo. Traditionally, St. Michael appeared here in the late 400s. LaBeouf stayed and filmed for a few weeks at the Abbey of Saint Mary of Pulsano. It is near the sanctuary. The rest of the filming took place outside the sanctuary. Ferrara said in 2024 that he used AI for the Italian dub of this film. == Release == Padre Pio had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It received a four-minute ovation. It also competed at the Rio de Janeiro International Film Festival. At the Lisbon & Estoril Film Festival, it was chosen to compete for the "Best Film Award." During its North American premiere at the Mammoth Film Festival, it won the "Achievement for Filmmaking" award for cinematography. At the Taormina Film Festival, it premiered worldwide in Italian. In March 2023, Gravitas Ventures acquired North American rights to the film. It was released in select theaters and on video on demand in the United States on 2 June 2023. The film was released in the United Kingdom and Ireland on 26 January 2024 by Dazzler Media. RS Productions released it in Italy on 18 July 2024. == Reception == On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews, with an average rating of 4.5/10. The website's critics consensus reads, "Tonally unbalanced and burdened with a distracting Shia LaBeouf performance, Padre Pio is one of Abel Ferrara's less divine works." Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 6 critics, indicating "mixed or average" reviews.. Jordan Mintzer of The Hollywood Reporter gave the film a negative review, describing it as "clunky" and criticizing its political themes for possessing "the subtlety of a cartoon for preschoolers." Brian Tallerico of RogerEbert.com gave the film one and a half stars out of four, describing it as a "dull slog". Journalist Glenn Kenny of The New York Times found the film "occasionally rank" and panned LaBeouf's performance, though complimented Ferrara's "sometimes Brechtian consideration of the nodes of political history and spirituality." Film critic Armond White of National Review also criticized the film, describing it as "a work of deluded, semi-improvisational navel-gazing". Film critic Peter Bradshaw of The Guardian gave the film a positive review, with three out of five stars, writing that it is "a weird film...with an undeveloped, improvised feel, like a fragment or shard of something else. Yet there is a background hum there...an awareness of something dark and malign. It is a minor film but interesting." Writing for The New Yorker, Richard Brody considered that "in its hectic, scattershot way, Padre Pio feels very much of the desperate present day," describing it as "a historical drama without historical distance" and "a wild effort to reach the immediate experience of the past and its furies." Faith-based reviews for the film were generally negative. It received negative reviews from Catholic Answers, The Catholic World Report, The Catholic Weekly, The Catholic Thing, and Crisis Magazine. Conversely, it received a mixed review from The Catholic Review, as well as a positive review from America. Criticisms were generally aimed at the film's sexual content and perceived support of left-wing politics.

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