update added 6/30/24
I know that what is happening in this world is so bizarre and unbelievable that people are unable to grasp the gravity of our situation. It is hard to look at, harder still to understand and even harder to reach a conclusion about what to do or not to do.
Still we cannot afford to just hide our heads in the sand and hope it all goes away. Everything that they are doing to us and to our environment has consequences. Knowledge of what is happening can help us to to make better choices. You should know by now that EVERY CHOICE we make affects us not only in this life, but our life in the world to come. Every choice we make affects our loved ones as well, especially our children and grand children.
The world around us is being hidden and we are enveloped in fakery, illusion, false imagery, artificial tastes, smells, sights and sounds. Nothing around us is as it appears. Our brains are being tricked. Our bodies are being manipulated. Are minds are being controlled. I know you don’t want to believe it. I don’t like it either. But, NOW more than ever we need to hold on to what is true and real!! We are living in the time of the GREAT DECEPTION and brothers and sisters it is greater than anyone could have imagined.
So, please don’t turn away. Take the time to look at the truth. See for yourself how long they have had this technology. It is not new. In fact, it is ancient…but that is for another day. Today, we are looking at modern technology.
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The world’s first revolutionary human skin suit, created in Japan, has caused a sensation. This unique suit, possessing properties closely resembling human skin, has sparked intense discussions and interest among scientists and the general public. By using advanced technologies and materials, the suit can mimic the texture, color, and even temperature properties of human skin, making it a significant achievement in robotics. Subscribe for more: 
/ @carrosshow9598
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Why Everyone Will Soon Doubt Everything They Can See
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Here’s a trivia question for you. Who put the idea of the holodeck into the mind of Star Trek creator, Gene Roddenberry? Here’s another one for you: Who invented the very first LCD projector? And one more: Who interacted in the ultimate fanboy video with DeForest Kelley, George Takei, Walter Koenig, James Doohan and Nichelle Nichols, which included an introduction by Roddenberry? The answers are one and the same — Gene Dolgoff, whose bio very proudly describes him as “an innovator and entrepreneur in electronics, optics, holography, lenticular, stereoscopic, and other forms of 3-D imaging, and displays, with over 65 granted patents worldwide and 40 patents pending.” Dolgoff, back in 1964, became one of the world’s first holographers, for three years teaching a course in optics, lasers and holography at the City College of the City University of New York, and, not surprisingly, authoring the text and curriculum utilized in class.These days, Dolgoff is Chairman, CEO and CTO of 3-D Vision, a Long Island-based company that conducts research to develop, license and market new products and technologies for the emerging 3D TV/computer field. Yet, for all that, Star Trek fans are most indebted to the man for his contribution to Star Trek, a contribution that’s universally accepted, but was never quite publicly acknowledged by Roddenberry. StarTrek.com caught up with Dolgoff at his office for an informative and science-centric conversation. Below is part one of our two-part interview. Visit StarTrek.com again tomorrow to read part two.
Back in the day, were you a Star Trek fan? We’re assuming your interest in science pre-dated Trek by a wide margin…
DOLGOFF: Exactly. I was into science ever since I was about three years old. I was interested in all kinds of science-fiction and science fact. Once Star Trek came out, I just loved it. I was thrilled about it. I got to be friends with a lot of scientific people, like Isaac Asimov. Isaac and I became friends around 1966, or around there. I got involved in 3D photography starting in 1960 and by the end of 1963, holography was invented, and I was really interested in that. So I called up the researcher who had made the first hologram, Emmett Leith, at the University of Michigan. We became very good friends over the phone and I started learning all about holography. He totally opened up my mind into a new world of physics. I’d been studying physics, but I didn’t understand anything about interference phenomena and holography, and he taught me all about it. So, by 1964, I’d set up my own holography lab in New York, and that was the first holography lab in New York. I was maybe the sixth person in the world doing holograms.
DOLGOFF: Yes. I went to a talk of Isaac Asimov’s in 1966 and he was fascinated with holography, but he was fascinated by anything scientific. That’s when we got to know each other and we were friends from that point on, until he died. I also got to know other people in science fiction writing. Harlan Ellison became a good friend. I used to lecture at a lot of science fiction conferences and Mensa conferences, and so on. Isaac would sometimes lecture with me. At one conference, which was actually a science fiction convention in 1973, Isaac and Harlan and Arthur C. Clarke and I were all on the bill as lecturers. Somebody made a movie of that, so there’s a scene in this movie where I’m on stage with Isaac and he puts the microphone around my neck like it’s an award. That was just us having fun, joking around. Clarke was midway through writing his book Rendezvous with Rama at the time. He came up to me after the lecture and asked me a lot of questions about my lecture and about holography. He said to me that he’s going to use that in a story, and I said, “Great.” And he wound up adding the holography explanations that I gave him into the next chapter of Rendezvous with Rama.
Take us to how, when and why you met Gene Roddenberry?
DOLGOFF: Well, I’d written a paper. My holography work evolved into understanding a holographic model of the universe and a holographic model of how the human brain works. So I wrote some papers on it and, in 1973, I was asked to deliver the paper at a conference in Czechoslovakia, in Prague. They paid for me to go and I went to deliver this paper on how the brain works. It was fascinating because it was an international conference and I had lot of translators translating. When I’d tell a joke in English, some of the people would laugh. Then the guy who was translating what I said into Russian would translate it, and some more people would laugh. Then the Czechoslovakian translator would translate and some more people would laugh. So it was a strange kind of thing. Anyway, attending this conference was a woman named Melanie Toyofuku, who was partners with a guy named Andrija Puharich, and they were working with the psychic Uri Geller to try to do some experiments that would document Geller’s psychic abilities. I proposed some experiments in my lab, to see if he could influence the interference patterns caused by laser beams. So we did those experiments.
Toyofuku was good friends with Roddenberry, right?
DOLGOFF: And so she started telling him about the experiment we were doing with the holography and the lasers. She came to the lab and saw all these incredible holograms that we’d made, of all different sizes, big and small, three-dimensional images floating in air, and so on. This was 1973. She told Gene all about this and he said he wanted to meet me. So she set up a meeting in New York, at a hotel. Gene and his wife, Majel, were there. I went there to the hotel with Melanie, and I brought a whole bunch of holograms and a laser, and I set it all up in the hotel. And we spent the day looking at the holograms and then going through theory. I explained how it worked and how the interference pattern generates the reconstruction of whatever you made the hologram of. And I introduced the concept that I’d come up with, which was matter holograms. At that point, holograms were used to generate three-dimensional images, but you could pass your hand through the images. So, with matter holograms, I’d realized that matter is made up of interference patterns of energy as well, and so you could actually record a hologram of the structure of matter and then reproduce the matter in the same way. So I then explained to Gene, not only is this the basis to teleportation in the future, but you could make a holographic environment in which people could interact with the objects and the scenes and everything, and create a recreation room, a training room, an area that could be for entertainment. We kind of agreed on the name “holodeck.” I put the holography part in there.
How receptive was Roddenberry to the concept?
DOLGOFF: Oh, he was totally into it. He said, “This is along the lines of what I was trying to think about. I just had no idea how this could be… or could this be?” He said, “I didn’t want to be so ridiculous that it wasn’t right and there wouldn’t be something like this in the future at all.” I said, “No, you’re on the right track completely. This is exactly what will happen,” and I explained, technically, how it would work.
Visit StarTrek.com again tomorrow to read the second half of our exclusive interview with Gene Dolgoff.
Published Mar 11, 2014
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Meet The Man Behind The Holodeck, Part 2
Meet The Man Behind The Holodeck, Part 2
The holodeck ended up being a very cool sci-fi element, as well as a great storytelling device, on The Next Generation, Deep Space Nine and Voyager. Were you still in contact with Roddenberry when the holodeck turned up on TNG, because he’d passed away by the time DS9 and Voyager aired?
DOLGOFF: No. I think we’d lost contact by then.
So he never said, “We’re using the holodeck on The Next Generation” or “Hey, did you see it. What did you think?”
DOLGOFF: That’s the way it goes, often; you come up with something and then you don’t get any recognition for it. I watched everything. I never missed an episode of any of the Star Trek franchises. I loved all the holodeck stuff. I thought it was really great and I really enjoyed it. I just wish I’d had more of an interaction (with the franchise). I was always wishing I’d be like the guy (Cochrane) they said invented the warp drive (and be mentioned or show up in a movie or episode).
But he did, in his own way, acknowledge your holodeck idea…
DOLGOFF: Let me tell you what he did do. He had me go to Universal Studios with my wife and allowed us to play guest captain and Vulcan science officer in a taped Star Trek rehearsal that, to my knowledge, has never aired in a TV show or a movie. But it is out there on the Internet (and now here on StarTrek.com). I felt honored that Gene allowed me to do that and felt that it was a gesture of appreciation for what I explained to him about holography. I’m not sure what year we did this, but I think it was 1989 or 1990.
OK, so, in layman’s terms, what is holography?
DOLGOFF: Holography is the recording and playback of a pattern of energy by recording the interference pattern of energy interacting with a reference beam. So, if you have an object and light is hitting that object, for instance, then the light will bounce off and that light has special information on it now that it picked up by hitting the object. There are only three kinds of information that it picks up. Each light ray has a specific angle, a specific brightness and a specific color. And that’s it. There’s also polarization, but that’s irrelevant because we don’t perceive polarization. Those three things, which I call the ABC’s of light – angle, brightness, color – are the only things that change when a light ray comes from the light source, let’s say, your ceiling light, and hits the object. The only thing that changes about the light is those three factors. So now they’ve bounced off of you and it’s the same light, but now they have different angles, brightnesses and colors.
If your eyes intercept that light, you see whatever it came from. So if I intercept that light, I see you. And if you interfere that light with a constant light beam, which is called a reference beam, it creates a pattern, an interference pattern, and that pattern can be recorded. Once that pattern is recorded it’s called a hologram, and the hologram now, if you shine that reference beam on it, with no information, the hologram itself will change those light rays and re-impart the proper angle, brightness and color, if done properly, to each ray. So now, if the same light information is coming towards you, you’ll look at it and you’ll still see the same thing. Now that’s a hologram for recording and playback.
Which ultimately leads to the interference pattern…
DOLGOFF: Now, I just described it using light, but if you use the kind of energy that’s higher in frequency, so that it can interact with the smaller features of matter, like gamma rays, you get the interference pattern – which again is the angle, brightness and, instead of color, frequency – of the rays that are coming from the small structure of the atoms, you record that pattern, you play back the same information, the same angle, brightness and color values of those small waves and, if you create what’s called a real image, it can reconstruct the object itself. So if you have a bunch of guests for dinner and you’re short a chair, you take out a hologram of the chair, it reconstructs another chair, and now that guest can sit on that chair because it’s got physical form. If you need food… this is how the replicator works on Star Trek. You have a hologram of an apple. So now the hologram reconstructs an apple. It’s just from energy, but once you eat the apple it has a taste and the texture and the nutritional value of an apple. So it’s basically all the same technology that applies to the replicator, transporter and holodeck.
While we digest that, give us a sense of what you’re up to these days…
DOLGOFF: I work on quite a lot of different technologies. All of the projectors in the world are based on my original invention (of digital projection) and patents. All the movie theaters, for instance, use digital projectors. So I’m actively involved in trying to collect royalties from that. I did the holograms on (credit and debit) cards; I invented the method of printing them. I have another breakthrough, which is full-color holography that is inexpensively printable. And, even though I invented that in 1971, I have never disclosed it or patented it. So I’m sitting on it, and that’s because there’s no point in putting a patent out or even paying for a patent if the market is not there, because the patent life is only 20 years and the time will come and go and it’ll expire, and nothing will have happened if you don’t time it right. So I’m sitting on that.
But now what I’ve developed is the next level of 3D TV, and that is 3D without glasses, using the holographic projection technology. So I’m writing a patent on that right now. We already have a prototype that works, but once that (patent) is done we’re going to try to find relationships with proper companies, get funding, get products made, and this will be the next step in 3D entertainment, advertising and medical imaging. It’ll be projecting images in midair that you can pass your hand through, and you don’t need any glasses, and unlike the stereoscopic technology in movie theaters and on TV today, there will be not only no glasses, but no eye strain. That’s the next step that we’re doing and then, in another decade or so, will be the true, full holographic projection, which will then become room-size and surround you.
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Light Field Lab
The science of holography, the technology enabling the holodeck, has a history as tantalizing as a fairy tale. The real science of holography began in 1960, when University of Michigan professors Emmet Leith, with Juris Upatnieks, created the first 3D hologram.
That caught the attention of City College of New York professor Gene Dolgoff, who contacted Leith; the two developed a friendship. By 1964, Dolgoff, a self-described as “an innovator and entrepreneur in electronics, optics, holography, lenticular, stereoscopic, and other forms of 3-D imaging, and displays, with over 65 granted patents worldwide and 40 patents pending., had set up his own holography lab in New York.
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Light Field Lab
Light is Our Medium Space is Our Canvas
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First Large-Format Modular Holographic Video Walls Feature 10 Billion Pixels Per Meter² Generating Digital Objects that Escape the Screen and Merge with Reality
Oct 07, 2021, 08:15 ET
SolidLight is the highest resolution holographic display platform ever designed, allowing viewers to experience SAN JOSE, Calif., Oct. 7, 2021 /PRNewswire/ — Light Field Lab today announced SolidLight™, the highest resolution holographic display platform ever designed. Light Field Lab’s technologies combine unprecedented size, resolution and density to project SolidLight Objects that accurately move, refract and reflect in physical space. The directly emissive modular SolidLight Surfaces form dense converging wavefronts with billions of pixels of photonic resolution. Untethered to gear, SolidLight enables viewers to experience digital objects in the physical world that escape the screen and are indistinguishable from reality. A demonstration of the holographic content generated by a SolidLight Surface display is available publicly for the first time via a 2D video under the SolidLight section of “See It Now.”
Introducing SolidLight™
The Next Generation of Display Technology SEE IT NOW
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DARPA: MIND CONTROL AND MARK OF THE BEAST TECHNOLOGIES
Digital Twin Virtual Reality Holographic Mind Control Simulation of Human Consciousness
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A chemical computer, one that doesn’t use electrical signals to communicate, means that we now, potentially, have a way to send computer instructions around the human body that won’t interfere with our nervous system.
You probably take it for granted that the devices that enable our modern day life communicate with each other by using electricity. Either by wire or by electromagentic waves, it always comes back to an electrical signal flickering on and off and on again. But a new research project out of Stanford University is experimenting with using chemicals, as opposed to electricity, to send data from one machine to the next. They’ve even managed to send a text message.
Instead of sending ones and zeros by turning a current off and on, this system sends pulses of acid (Vinegar) and bass (Glass cleaner). The message, in binary chemical bits, travels through plastic tubes to the destination computer which tracks changes in pH levels to decipher the message.
“Every problem that we’ve addressed in traditional wireless communications over the last three or four decades is really different now because we’ve created a completely different mode of communicating,” said Andrea Goldsmith, Stanford professor of electrical engineering, “as so, it opens up all of these new ways of thinking about the optimal way to design this type of communication system.”
The possible applications for a stable, non-electronic messaging system are myriad. It could operate as a backup or alternate source of communication in case of a blackout and it’s already intrinsically hardened to withstand Electromagnetic Pulses – something which, against the backdrop of today’s growing nuclear proliferation is of increasing concern to the US Government – as well as places where sending electric signals are difficult, like underwater.
For the next step, Goldsmith and her fellow researchers are looking at human-based nanotechnology. Traditional communication is a problem for in-body nanotech because electronic signals don’t behave well inside the body and could cause potential organ damage. A messaging system not reliant on electricity could forego these problems altogether opening up a multitude of new opportunities for companies, and devices who, for whatever reason need to send computer messages around the human body. Whether it’s to enable communication with and between, for example, nanobots, neuroprosthetics or other implanted medical devices.
“It’s just so ‘out there,’ like science fiction,” Goldsmith says, “what are all the exciting ways that we could use this to enable communication that is impossible today? That’s what I would want someone to walk away thinking about.”
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DNA computers, up until now, have been theoretical but now they’re feasible, and that’s a huge step towards the next step – building one.
A team of researchers from the University of Manchester, the same university that’s recently been making breakthroughs in quantum computing, led by Professor Ross D King, have shown for the first time that it’s possible to build a super fast DNA computer that “grows” as it computes.
The result would not only be a computer that has almost infinite performance and scalability, but it would also potentially break today’s paradigm of multi-year computer development cycles because whereas today we have to create new technologies, such as new, smaller transistor designs and new nanoscale manufacturing processes to create the next generation of higher performance computer chips, tomorrow a computer that grows could simply replicate itself to get to the next “performance bar,” making computer “evolution” much, much faster, and potentially, almost instantaneous. And that would be another game changer – exponential improvement incarnate.
Yes, you read that right – grows – and their research has been published in the prestigious Journal of the Royal Society Interface. In other words what they’ve been able to show is the feasibility of engineering a Nondeterministic Universal Turing Machine (NUTM). Feasibility being the key word here.
“Imagine a computer is searching a maze and comes to a choice point, one path leading left, the other right,” explained Professor King, from Manchester’s School of Computer Science, “today’s electronic computers need to choose which path to follow first. But our new DNA computer doesn’t need to choose, because it can copy and replicate itself and follow both paths at the same time – and find the answer faster.
“This ‘magical’ property is possible because the computer’s processors are made of DNA rather than silicon chips. All electronic computers have a fixed number of chips,” he said.
Think about that for a while – a self-replicating DNA based computer that’s super fast, super small and super energy efficient. In theory just these attributes alone would make the computer faster than any other form of computer in existence, and possibly even eclipse the enormous power promised by tomorrow’s quantum computers, which have already shown that they can perform calculations hundreds of millions times faster than today’s systems.
Arguably Alan Turing, the famous scientist’s, greatest achievement was inventing the concept of a Universal Turing Machine (UTM) – a computer that can be programmed to compute anything any other computer can compute. Electronic computers are a form of UTM, but no quantum UTM has yet been built, although that should change in the next five years after two prototype quantum computers went head to head last month.
“Quantum computers are an exciting other form of computer, and they can also follow both paths in a maze, but only if the maze has certain symmetries, which greatly limits their use,” continued Professor King, “as DNA molecules are very small, a desktop computer could potentially utilise more processors than all the electronic computers in the world combined – and therefore outperform the world’s current fastest supercomputer, while consuming a tiny fraction of its energy.”
I’ll keep you posted when I see more details, however, just to throw this into the fire – if a DNA computer that uses just four bases could outperform tomorrow’s fastest quantum computers then imagine what a machine that uses six DNA bases could achieve. Fast wouldn’t be the word, and one day maybe we’ll combine them with chemical computers that can turn your own body into a computer.
Awesome!
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WHY THIS MATTERS IN BRIEF
The ultimate sci-fi concept, Holodecks have been talked about since they were first shown on TV, and now several companies are building the tech to make them a reality.
San Jose holographic display start up Light Field Lab and Los Angeles graphics company OTOY, which focuses on cloud based high end graphics, have officially announced a partnership that is “making the Star Trek Holodeck a reality” according to a recent press release. And both companies are backed by the son of Gene Roddenberry, the man behind the original Star Trek holodeck concept.
The alliance will make use of Light Field Lab’s “innovative headgear-free holographic system” and OTOY’s ORBX technology, the first no-royalty open sourced format for the kind of display system the duo are trying to develop.
Star Trek‘s concept of a perfectly immersive virtual reality world that people can access and use without the need for any head gear, whether it’s VR headsets, glasses or any other type of gimmickry, has been the white whale of the immersive entertainment industry ever since the concept was first aired on TV screens back in the 1970’s, and the duo claim they’ll soon have the ability to “fully immerse users in the sights and sounds of high-quality media content with no headset.” A grand claim indeed – and if they do in fact manage to create the world’s first prototype holodeck then the world of entertainment will never be the same again and I for one will be standing in the queue to experience it.
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“We are building what we like to think of as the next generation [of immersive reality] beyond augmented reality and virtual reality,” said Light Field Lab CEO Jon Karafin at Greenlight Insight’s San Francisco event recently. Light Field Lab first sprang into life in 2016 and has already raised over $7 million towards the project, says The Hollywood Reporter.
“Light Field Lab has the potential to change the way we view and interact with media. This is essentially the holy grail of optical display technology, enabling things that seem like science fiction to be possible today,” said Vinod Khosla of Khosla Ventures, which has invested heavily in the project. The partnership also came with an agreement from Endeavor and Roddenberry Entertainment, the company founded by Gene Roddenberry, the man originally behind Star Trek’s Holodeck idea, to create original content designed specifically for the fledgling technology, and today Roddenberry’s company has created multiple modern Sci-Fi shows including the popular reboot series Star Trek: Discovery.
It is also currently headed by the late Roddenberry’s son Rod Roddenberry, whose commitment to the project lends a lot of credibility to it, unlike previous attempts by others to recreate the holodeck, and the younger Roddenberry is excited about the Light Field Lab and OTOY technology.
According to Light Field Lab the future of their project includes the potential for holograms that can move around and be manipulated by touch like the world’s first bona fide free form, free air, no tricks involved holograms I’ve written about before and that you can watch in this video. Former Lucasfilm executive Richard Kerris is also currently an adviser to OTOY. Kerris acknowledges that many companies have tried and failed when it comes to the idea of a true high-definition holographic displays. He called those attempts mere “gimmicks” in a statement, yet he believes the new Light Field Lab display technology paired with OTOY’s 3D content development truly is making everyone’s Holodeck dream a reality.
“The combination of breakthroughs in both rendering and display technologies could very well mark the beginning of a next-gen media revolution. Your eyes freely focus on holographic objects without the need to wear glasses to see the 3D. The experience is unlike anything I’ve experienced and gives me hope on seeing their vision of the Holodeck eventually come true,” said Kerris.
Neural interfaces that let us communicate with each other and the machines around us, as well as stream our thoughts to TV, will revolutionise humanity, but we need bio-compatible hardware.
It’s a fact that silicon transistors and the brain don’t mix, and while you might not think that that’s much of an issue today, since silicon chips are designed to go into computers and smartphones, and not into the human brain, as we race full throttle into the future it is. And it’s an increasingly pressing issue as companies from Elon Musk’s NeuraLink, to Facebook and the US Military, try to find new ways to interface our brains with AI’s, computers, communications systems, and even social networks, and successfully test new ways to upload and download information from our brains – including the ability to read our minds and stream our thoughts to TV’s in colour. Yes, the future is crazy and it’s all being video’d.
We all like speed, right? Well this new computer chip makes warp drive look slow …
If you think that the chip in your latest Mac is fast then it’s got nothing on a new computer chip that just transmitted a record 1.84 petabits of data per second via a fibre-optic cable – enough bandwidth to download 230 million photographs in that time, and more traffic than travels through the entire internet’s backbone network per second.
Asbjørn Arvad Jørgensen at the Technical University of Denmark in Copenhagen and his colleagues have used a photonic chip – a technology that allows optical components to be built onto computer chips – to divide a stream of data into thousands of separate channels and transmit them all at once over 7.9 kilometres.
First, the team split the data stream into 37 sections, each of which was sent down a separate core of the fibre-optic cable. Next, each of these channels was split into 223 data chunks that existed in individual slices of the electromagnetic spectrum. This “frequency comb” of equidistant spikes of light across the spectrum allowed data to be transmitted in different colours at the same time without interfering with each other, massively increasing the capacity of each core.
Although data transfer rates of up to 10.66 petabits per second have been achieved before using bulky equipment, this research sets a record for transmission using a single computer chip as a light source. The technology could enable the creation of simple, single chips that can send vastly more data than existing models, slashing energy costs and increasing bandwidth.
The amount of data sent in the experiment was so vast that no computer exists that could supply or receive this much information so quickly. In experiments, the team instead passed “dummy data” through all channels, says Jørgensen, and tested the output one channel at a time to verify that it was all being sent and could be recovered intact.
“You could say the average internet traffic in the world is about a petabit per second. What we transmit is two times that,” says Jørgensen. “It’s an incredibly large amount of data that we’re sending through, essentially, in less than a square millimetre of cable. It just goes to show that we can go so much further than we are today with internet connections.”
The chip needs a single laser, shining continuously, which is split into many frequencies, as well as separate devices to encode data into each of the output streams. But Jørgensen says these could be integrated onto the chip itself, making the entire apparatus the size of a matchbox.
Journal reference: Nature, DOI: 10.1038/s41566-022-01082-z
Training and running giant AI models like GPT4 and BARD use huge amounts of energy, and it’s all starting to add up.
Artificial Intelligence (AI) powered systems not only consume huge amounts of data for training purposes but also require tremendous amounts of electricity to run on, so says a new study which calculated the energy use and carbon footprint of several recent large language models.
One of them, ChatGPT, running on 10,000 NVIDIA GPUs, was found to be consuming 1,287 megawatt hours of electricity – the equivalent of energy used by 121 homes for a year in the United States.
As we accelerate towards building one of the greatest technological developments man has ever achieved, we need to ask ourselves, what is the offset of this development? In a commentary published in the journal Joule, author Alex de Vries argues that in the future, the energy demands to power AI tools may exceed the power demands of some small nations.
There has recently also been a shift in more companies developing their own chips to meet the heavy AI requirements. Google and Amazon already have their own AI chips, whereas rumors are rife that Microsoft will be unveiling its in-house chip hardware next month. Microsoft also has heavy investments in OpenAI, which, as per reports, is also in the beginning stages of either developing its own chips or acquiring a semiconductor company that does it for them.
All this means is that there will be a significant rise in the energy footprint of the AI industry – that is at least until new analogue chips and chip designs that are up to 100x more energy efficient are commercialised.
Vries explains, “For example, companies such as Alphabet’s Google could substantially increase their power demand if generative AI is integrated into every Google search.”
As per the leading semiconductor and AI blog SemiAnalysis, it is estimated that integrating a ChatGPT-like chatbot with each Google search would require 512,820 of NVIDIA’s A100 HGX servers, which means over 4 million GPUs. At a power demand of 6.5 kW per server, this would translate into a daily electricity consumption of 80 GWh and an annual consumption of 29.2 TWh.
The author noted that AI tools have an initial training phase followed by an inference phase. The training phase is the most energy-intensive and has been the center of AI sustainability research done thus far. The inference phase is when these tools generate output based on the data they are trained on. The author has called on the scientific community to pay more attention to this phase.
“…OpenAI required 3,617 of NVIDIA’s HGX A100 servers, with a total of 28,936 GPUs, to support ChatGPT, implying an energy demand of 564 MWh per day,” said Vries. And this is just to get the chatbot started before any consumer even started using it. “Compared to the estimated 1,287 MWh used in GPT-3’s training phase, the inference phase’s energy demand appears considerably higher,” he added.
The author lastly noted that it is too optimistic to expect that improvements in hardware and software efficiencies will fully offset any long-term changes in AI-related electricity consumption. But efforts are being made.
Progress to Realworld Star Trek Holodecks
Founder and CEO of OTOY, Jules Urbach, presented a deep dive on next generation rendering – showcasing how Blender, Octane and the Render Network have been used for final frame VFX production in 2022 and 2023.
The talk will also highlight how Light Field, NeRF and AI rendering features have advanced the state of the art for virtual production and real time workflows for emerging platforms like Apple’s Vision Pro and Light Field Lab’s solid light holographic displays.
Jules talked about the latest developments in decentralized GPU computing and provenance on the Render Network and open source initiatives for cross DCC rendering – such as ITMF, MSF and MaterialX and OpenUSD.
He showcases the Roddenberry Archive immersive experience, a multi-decade initiative to preserve Gene Roddenberry’s lifetime of work – including the full history of Star Trek. The talk will present the work done in Blender to create the life-sized 1:1 Starship Enterprise models and Enterprise Bridge sets reconstructed for viewers to walk through as fully immersive experiences, with narration by William Shatner and other Star Trek luminaries.
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“Towards the Star Trek Holodeck: The Future of Rendering” by Jules Urbach.
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Brian Wang is a Futurist Thought Leader and a popular Science blogger with 1 million readers per month. His blog Nextbigfuture.com is ranked #1 Science News Blog. It covers many disruptive technology and trends including Space, Robotics, Artificial Intelligence, Medicine, Anti-aging Biotechnology, and Nanotechnology.
Known for identifying cutting edge technologies, he is currently a Co-Founder of a startup and fundraiser for high potential early-stage companies. He is the Head of Research for Allocations for deep technology investments and an Angel Investor at Space Angels.
A frequent speaker at corporations, he has been a TEDx speaker, a Singularity University speaker and guest at numerous interviews for radio and podcasts. He is open to public speaking and advising engagements.
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Quantum leap: how we discovered a new way to create a hologram
Disclosure statement
Hugo Defienne receives funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant no. 840958.Once, holograms were just a scientific curiosity. But thanks to the rapid development of lasers, they have gradually moved centre stage, appearing on the security imagery for credit cards and bank notes, in science fiction movies – most memorably Star Wars – and even “live” on stage when long-dead rapper Tupac reincarnated for fans at the Coachella music festival in 2012.
Holography is the photographic process of recording light that is scattered by an object, and presenting it in a three-dimensional way. Invented in the early 1950s by the Hungarian-British physicist Dennis Gabor, the discovery later earned him the Nobel Prize in Physics in 1971.
Beyond banknotes, passports and controversial rappers, holography has become an essential tool for other practical applications including data storage, biological microscopy, medical imaging and medical diagnosis. In a technique called holographic microscopy, scientists make holograms to decipher biological mechanisms in tissues and living cells. For example, this technique is routinely used to analyse red blood cells to detect the presence of malaria parasites and to identify sperm cells for IVF processes.
But now we have discovered a new type of quantum holography to overcome the limitations of conventional holographic approaches. This groundbreaking discovery could lead to improved medical imaging and speed up the advance of quantum information science. This is a scientific field that covers all technologies based on quantum physics, including quantum commputing and quantum communications.
How holograms work
Classical holography creates two-dimensional renderings of three-dimensional objects with a beam of laser light split into two paths. The path of one beam, known as the object beam, illuminates the holography’s subject, with the reflected light collected by a camera or special holographic film. The path of the second beam, known as the reference beam, is bounced from a mirror directly onto the collection surface without touching the subject.
The hologram is created by measuring the differences in the light’s phase, where the two beams meet. The phase is the amount the waves of the subject and object beams mingle and interfere with each other. A bit like waves at the surface of a swimming pool, the interference phenomenon creates a complex wave pattern in space that contains both regions where the waves cancel each other (troughs), and others where they add (crests).
Interference generally requires light to be “coherent” – having the same frequency everywhere. The light emitted by a laser, for example, is coherenent, and this is why this type of light is used in most holographic systems.
Holography with entanglement
So optical coherence is vital to any holographic process. But our new study circumvents the need for coherence in holography by exploiting something called “quantum entanglement” between light particles called photons.
Conventional holography fundamentally relies on optical coherence because, firstly, light must interfere to produce holograms, and secondly, light must be coherent to interfere. However, the second part is not entirely true because there are certain types of light that can be both incoherent and produce interference. This is the case for light made of entangled photons, emitted by a quantum source in the form of a flow of particles grouped in pairs – entangled photons.
These pairs carry a unique property called quantum entanglement. When two particles are entangled, they are intrinsically connected and effectively act as a single object, even though they may be separated in space. As a result, any measurement performed on one entangled particle affects the entangled system as a whole.
In our study, the two photons of each pair are separated and sent in two different directions. One photon is sent towards an object, which could be for example, a microscope slide with a biological sample on it. When it hits the object, the photon will be slightly deviated or slowed a bit depending on the thickness of the sample material it has passed through. But, as a quantum object, a photon has the surprising property of behaving not only as a particle, but also simultaneously as a wave.
Such wave-particle duality property enables it to not only probe the thickness of the object at the precise location it hit it (as a larger particle would do), but to measure its thickness along its entire length all at once. The thickness of the sample – and therefore its three-dimensional structure – becomes “imprinted” on to the photon.
Because the photons are entangled, the projection imprinted on one photon is simultaneously shared by both. The interference phenomenon then occurs remotely, without the need to overlap the beams, and a hologram is finally obtained by detecting the two photons using separate cameras and measuring correlations between them.
The most impressive aspect of this quantum holographic approach is that the interference phenomenon occurs even though the photons never interact with each other and can be separated by any distance – an aspect that is called “non-locality” – and is enabled by the presence of quantum entanglement between the photons.
So the object that we measure and the final measurements could be performed at opposite ends of the planet. Beyond this fundamental interest, the use of entanglement instead of optical coherence in a holographic system provides practical advantages such as better stability and noise resilience. This is because quantum entanglement is a property that is inherently difficult to access and control, and therefore has the advantage to be less sensitive to external deviations.
These advantages mean we can produce biological images of much better quality than those obtained with current microscopy techniques. Soon this quantum holographic approach could be used to unravel biological structures and mechanisms inside cells that had never been observed before.
It’s All SMOKE AND MIRRORS!!!
THE PHOTON BELT LIE
DONUTS ANYONE?
QUANTUM LIGHT
LIGHT is LIFE – But They Are Using it to KILL US!
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@iam_zlu Your streets just got even more epic thanks to me, the giant hologram that will revolutionize your daily walks 👽#hologram #virtualinfluencer
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PORTAL – Connecting Two Cities in Real Time
1.07M subscribers
Enter feeling like a giant. But when you leave, you just may realize how small you really are.
Be a giant roaming the world, in an interactive and immersive world of Miniatures.
What is Miniature World?
Imagine the most technologically-advanced, interactive, and immersive world of miniatures ever created, showcasing 40 countries on 5 continents.
Journey around the world to discover famous landmarks and world heritage sites, all rendered in stunning detail by the world’s best model-makers. Marvel at model trains criss-crossing mountainsides. Watch planes soaring off runways. Be captivated by boats gently gliding through canals, and the sun rising and setting behind rolling vistas and iconic cityscapes.
Spanning a full city block, this unique experience fuses cutting-edge technology with incredible artistry: from a 75 ft long operational miniature airport, to erupting volcanoes and a functioning Panama Canal. With hundreds of hidden stories scattered throughout, this attraction is suitable for all ages.
Miniature World is a Giant Experience that will ignite your imagination and challenge your perspective!
Steve Collins
Introduction
To define magic is not an easy task. A conservative approach depicts magic as the exercise of supernatural powers invoked from gods and spirits. Magic, however, has always been restated in the language of its time. The ontological discourse of reality is no longer occupied solely by religious doctrine and appeals to supernatural forces. Theories of quantum physics developed during the last century encroach on this space and seek to explain how reality functions. Magic has become increasingly dependant on such theories to justify how its rituals cause changes in reality. The common theme running through contemporary magical principles is that the human mind is capable of directly influencing the state of reality, whereas conservative views of magic hold that such action is only performed through manipulation of spirits or occult forces.
Magic is a highly adaptive aspect of human culture, readily reinventing its technologies in accordance with progress. Thus, it should come as little surprise that magic has appropriated the computer. The result is the creation of a novel magical paradigm founded on the intersection of quantum theory and cyber-culture?s doctrine of virtual worlds, which demonstrates that a reality, albeit virtual, can be recoded, manipulated and changed in accordance with human will. After all, magic shares a commonality with hacking in that both use technologies to cause change to an environment through manipulation of that environment?s cohesive powers. In the instance of hacking, it is the underlying code that must be altered to exert a change; for magic, it is the manipulation of forces underpinning the state of existence that brings about change.
This paper reports on contemporary quantum-based magical theories that approach reality as a myriad of possibilities that can be determined by magical participation. A salient parallel exists with MUDs: participants engage within the construct of a read-only world; only the wizards may reorganize the state of (virtual) reality in accordance with their desires. Quantum-based magical theory views the reality in which we live as coextensive with the malleable virtual reality. Thus, the computer provides an excellent locus for magical experimentation in this paradigm. Whilst this paper does not presume a belief in magic on the part of the reader, it does, however, require acknowledgement of the practices by those who do.
Chaos Magic
Just as technologies such as computers have evolved from warehouse-sized machines capable only of basic calculations to multitasking desktop PCs, magic has also evolved from grandiose ritual flair and embraced post-modernism. Chaos magic is a system introduced in the early 1980s through Peter Carroll?s “Magickal Pact of the Illuminates of Thanateros”. Chaos magic builds on the writings of Austin Osman Spare and in opposition to ritual dogma emphasizes that “nothing is true, everything is permitted”. Unlike other, more culturally prominent magical practices such as Wicca or neo-paganism, chaos magic does not advocate any kind of religious belief, but merely provides magical technologies. Belief systems are considered as technologies, and as a result any kind of symbolism may be used as long as belief can be invested into it. As a system of pure techniques, the emphasis of chaos magic is placed in the embrace of all technologies.
Chaos magic explains itself through the language of quantum theory and perceives reality as a field of superimposed probability waves. Events have been observed in the subatomic quantum domain that belie concepts such as time and cause and effect. Carroll argues that quantum theory provides an endearing basis for a magical paradigm (Carroll, 1990). In 1927 Werner Heisenberg challenged understandings of reality established by Newtonian physics. Opposing simple causality, Heisenberg?s uncertainty principle declares that it is impossible to simultaneously measure the position and momentum of a quantum particle, as knowledge of one precludes knowledge of the other. Implicit in the uncertainty principle is the proposition that an observer?s consciousness participates in the quantum system. In choosing to observe one possible state of a quantum particle, the observer defines it as such. This is called the collapse of the wave probability function. Despite the discourse surrounding quantum consciousness, the physical nature of the processes that link consciousness with the quantum events has not been precisely identified. The uncertainty principle implies the existence of an undiscovered means of transferring information from the observer?s consciousness into the quantum realm.
This notion is supported by the paradox of non-locality or particle-entanglement theory, in which two particles such as photons become connected so that changes to one instantaneously occur in the other regardless of distance. Two possible theories exist to explain this paradox: photons can communicate faster than the speed of light, or they somehow remain connected parts of an indivisible system. The first is incompatible with Einstein?s theory of relativity (that nothing can move faster than light) whilst the second suggests that at the quantum level reality is non-local and interconnected. Thus, information that causes change can be exchanged regardless of distance. Although most scientists would be reticent in suggesting that the principles operating at the quantum level apply to the macroscopic level at which we exist, chaos magic has appropriated these theories and principles to construct a belief paradigm in which magic exists. Importantly, chaos magic theory promotes the notion that magic exists as a byproduct of being human rather than placing any belief in occult forces. Chaos magic theory proposes that magic plucks a specific reality out of a myriad of possibilities. In other words, magic is the practice of defining a state of reality through the transmission of information.
Inevitably, chaos magic turned its attention to incorporating computers into magical ritual. The potential for computers to host virtual worlds capable of being recoded according to desired parameters is extremely amenable to a magical paradigm grounded in quantum theory. Two respective experimenters and innovators in this field are Ramsey Dukes and Charles Brewster. Johnstone?s Paradox is a computer-inspired magical concept discussed by Ramsey Dukes (1988, 1992 & 1998). Dukes assumes that we live in an entirely material world where there are no unexplained phenomena because everything will eventually be reducible to scientific reasoning. He continues to approach virtual reality and artificial intelligence technologies. Following “Moore?s law”, Dukes projects that with computer processing power exponentially increasing it will not be long before we are able to host artificial worlds, populated by an artificial bio-system with all inhabitants possessed of artificial intelligence. Dukes argues that if we live in a material world then computer generated artificial worlds are a possibility because every condition of existence will accord to precise scientific principles as they are discovered. The theory continues with the assumption that the creators of the virtual world will not be able to restrain themselves from tampering with (or hacking) conditions in small ways to monitor the results. Dukes questions what the probability is that our world is the original world, his conclusion being that the probability is very small. He then questions the probability of living in a virtual world based entirely upon established scientific principles. Again, he argues that the probability is small. Dukes concludes that in all likelihood ours is a world where magic is possible. The essence of Johnstone?s Paradox has been explored in films such as The Matrix (1999), Total Recall (1990) and The 13 th Floor (1999).
Charles Brewster?s concept of cybermorphic information (Brewster, 1991) is simpler to discuss than the Johnstone Paradox. Brewster?s theory is rooted in the principles of computer programming, which categorises information as either data or instructions. Object oriented programming refers to these as objects and processes. Brewster argues for a third categorisation, which he calls cybermorphs (Frater M, 1999). The principal difference between the different categories of information is that data and instructions always relate directly to a material reality whereas cybermorphs relate to the abstract framework in which data and instructions have validity.
If both theories are combined with principles drawn from quantum mechanics, then data represents the material concept of particles and instructions correspond with wave functions. In Johnstone?s Paradox both particles and waves are simply modelled as information inside a hypothetical computer in another universe, there might well be information that fails to relate to either particle or wave functions in this universe. This information would be cybermorphic with the function of structuring and processing data and instructions. The combination of these theories has been encapsulated in a software application called Cybermorph Hardware And Operating System ? Human-interface Exchange (CHAOSHEX). The program is designed for individuals working in a belief paradigm that supports Johnstone?s Paradox and the concept of cybermorphs. Frater M explains:
If we are artificial intelligence programs, living in a virtual reality, then we should be capable of evolving a program feature that allows us to hack into the system control computer and reprogram things to our own benefit. A successful piece of hacking would be undetected by the system and would remain uncorrected. Sometimes an error caused by hacking may be corrected, but not before the ripples of its effect have caused the world to head in a subtly different direction. This is exactly how most magicians argue magic works. (Frater M, 1999)
CHAOSHEX is designed as a three-way cybermorphic interface between the user, a computer and the meta-computer that hosts our world. Users must login to the system using a command line interface that changes the normal DOS prompt to the CHAOSHEX prompt. There are a number of commands available within the program for hacking into the world. When a ritual is performed the screen is bombarded with an array of random words and colours designed to trigger a state of gnosis. This causes the command entered to change some aspect of reality at the root level of code. Lawrence Lessig (1999) has highlighted the relationship between code and cyberspace activity arguing that the virtual is defined by underlying structures of protocols and coding. Similarly, magic is regarded as the function of speaking to the universe in a language it cannot fail to ignore. CHAOSHEX updates this to a notion of speaking in a language that the operating system cannot ignore.
CHAOSHEX is the result of hybridisation between computer-culture and modern magical principles. Just as the GUI was introduced to make human-computer interaction more accessible to those unacquainted with the command-line interface, CHAOSHEX seeks to democratise the practice of magic. Its creator, Frater M (Anton Channing), states that no magical background is necessary. The very act of logging into the program is sufficient to shift the user?s perception. As computers proliferate in our culture, our responses have been conditioned from hours of accessing computers and the Internet (1999). The claimed effectiveness of CHAOSHEX can be qualified by Phil Hine?s argument that “[a]ny belief system can be used as a basis for magick, so long as you can invest belief into it” (1995:36). A belief system may be considered a matrix of information into which emotion energy can be focused. With Hine?s argument as an encompassing principle of magic, it sustains the concept of the CHAOSHEX system working on the paradigms promoted by Dukes and Brewster.
Thought-forms
Related to Hine?s definition of a belief system is the concept of thought-forms – artificial discarnate entities. Also known as tulpas or servitors, thought-forms are understood as being the resultant creations of the unconscious. Genesis P. Orridge suggests that”when enough people believe in something, it becomes a deity” (Farber, 1998). Similarly, Carroll (1987) and Hine (1988) claim that techniques of evocation are capable of creating new deities or thought-forms. One such experiment was the evocation of Goflowolfog, a deity charged with the duty of ensuring free traffic flows, created during the course of a workshop in London. Provocatively, Genesis P. Orridge also proposes that in the instance of cyberspace, “we?re building a god, but we?re building a god with the flaws and the gifts” of all Web contributors and users (Farber, 1998). The collectively created thought-form of cyberspace has been dubbed the Psychosphere. Genesis? proclamation sounds like a concept from a cyberpunk novel, reminiscent of the Loas of the Net from William Gibson?s 1984 Neuromancer trilogy, yet is lent some substance by the creator of the World Wide Web. Tim Berners-Lee, in an issue of USA Weekend magazine, was quoted as saying he considered the Web to be a developing artificial intelligence (Farber, 1998).
Philip Farber argues that the Psychosphere is the resultant creation of the conscious and unconscious actions of every Internet user. His theory proposes that every online experience changes the individual and the effects of those changes ripple through cyberspace indefinitely. The responses to powerful impressions, such as those that influence or explain are obvious. Lesser impressions, however, are responsible for much more subtle changes, but changes nonetheless. If you are in a chat room and an irrelevant or offensive message appears, Farber argues that you are changed by whatever action is taken. Ignoring the message, waiting for it to scroll past or leaving the room causes change. Users communicate unconsciously by switching rooms or changing the subject. Individuals? bodies may retain muscular tension as the result of provocative postings. This tension may then manifest itself as further provocation. Essentially, Farber advocates a cause and effect principle that ripples through cyberspace indefinitely, no matter how diluted. This notion is similar to the ?butterfly principle? of chaos theory. Central to Farber?s theory is the postulation that the memory of the Psychosphere is held in the nervous systems and bodies of all Web surfers as well as the memory of the computers that facilitate the Internet: “If you are upset by something online, the Psychosphere will remember that upset for the time that you are experiencing, no matter how long, and ripples will extend from that point and be ?remembered? in the consciousness/physicality of those who encounter the ripples” (1998). If the Psychosphere then, is the sum of the collective experience in cyberspace, Farber claims that it is possible to invoke the qualities to be discovered therein.
The suggestion that deities can be created through the investment of belief is an interesting prospect that could be facilitated by technology. Software could be created for interaction with preset and customisable godhead figures. Stelarc?s “Prosthetic Head” installation project would provide an excellent framework with which to work:
As you walk into the darkened space, you’ll see a computer-generated image of Stelarc’s head projected large scale onto a wall. There’s a plinth holding the keyboard and sensors that detect your entry into the space. The head will look towards you, greet you and invite you to initiate dialogue. You key in a remark, a question or a comment and the head responds from a substantial database vocabulary. (Gallasch, 2003)
Potentially, Stelarc?s project could represent the user interface for an updated version of CHAOSHEX, redefining the role of computer-based avatars. Stelarc aims to augment the autonomous capacity of the avatar through expansion of the vocabulary database and the addition of a visual recognition system. The culmination of magical principles and technological developments could ultimately result in interaction with the prosthetic head in a manner akin to Phillip K. Dick?s godhead figure Mercer (Dick, 1999). Although such a proposal may be regarded as the product of science fiction, it must be remembered that the magical community has been ardent in its appropriation of new technologies.
Conclusion
Has the intersection of magic and cyber-culture created a new belief paradigm distinct from existing modes of working? The blend of Johnstone?s Paradox and cybermorphic information certainly provides a novel way of understanding and interacting with reality. The addition of the Psychosphere has opened the prospective belief in computer-based discarnate entities or cyber-spirits. Although the pragmatic effect of magic is typically considered to be specious, its historical persistence and adaptability suggests a deep human need to understand and bind the universe. Whilst the methods and theories proposed here are certainly novel and have brought magic as a practice into the 21 st century, the motivations remain the same. Magic is conducted through the utilisation of technologies, whether those technologies are computers or ancient pantheons. The traditional perception promotes magic as fanciful resurgence of a bygone, mythical age associated with supernatural powers. The developing notion of computer-based magic – accompanied by a discourse relative to quantum physics – may ultimately prove to augment its credibility in modern society. It certainly represents an attempt to substantiate the practice of magic based on scientific theories that were supposed to disprove its existence. In doing so, magic has appropriated the computer, the embodiment of technological progress, and turned it into a magical tool.
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Chaos magic
Chaos magic, also spelled chaos magick,[1][2] is a modern tradition of magic.[3] Emerging in England in the 1970s as part of the wider neo-pagan and esotericist subculture,[4] it drew heavily from the occult beliefs of artist Austin Osman Spare, expressed several decades earlier.[3] It has been characterised as an invented religion,[5] with some commentators drawing similarities between the movement and Discordianism.[6][7] Magical organizations within this tradition include the Illuminates of Thanateros and Thee Temple ov Psychick Youth.
The founding figures of chaos magic believed that other occult traditions had become too religious in character.[8] They attempted to strip away the symbolic, ritualistic, theological or otherwise ornamental aspects of these occult traditions, to leave behind a set of basic techniques that they believed to be the basis of magic.[8][9]
Chaos magic teaches that the essence of magic is that perceptions are conditioned by beliefs, and that the world as we perceive it can be changed by deliberately changing those beliefs.[10] Chaos magicians subsequently treat belief as a tool, often creating their own idiosyncratic magical systems and frequently borrowing from other magical traditions, religious movements, popular culture and various strands of philosophy.[11]
Hugh Urban has described chaos magic as a union of traditional occult techniques and applied postmodernism[11] – particularly a postmodernist skepticism concerning the existence or knowability of objective truth.[12] Namely, according to him, chaos magic rejects the existence of absolute truth, and views all occult systems as arbitrary symbol-systems that are only effective because of the belief of the practitioner.[12]
Jose Alvarez
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