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Grilled Cheese is a product of Village Compute

Version devBuilt at: 2026-10-16 08:00:47 EDT

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Un télescope spatial suspendu dans une salle blanche, préparé pour des travaux de maintenance.

Michael de Adder editorial cartoon on a mostly white background. Across the lower half, the familiar “evolution of man” progression moves from left to right: a crouching ape, increasingly upright early humans, a club-carrying caveman, and a modern man walking forward. Next comes a scientist in a white lab coat, facing a small red humanoid robot. From there, the sequence continues through progressively taller and more sophisticated robots in red, teal, yellow and green, several linked hand-to-hand as though one technological generation leads to the next. The final robot is cropped by the right edge, implying the progression continues beyond the frame. Beneath the figures, the word “EVOLUTION” appears in large hand-drawn letters. De Adder’s signature is at lower right. The cartoon recasts the classic human-evolution diagram as a transition from biological humanity to increasingly advanced machines.

Vue du télescope spatial James Webb en cours d'assemblage, avec ses panneaux hexagonaux jaunes.

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Oxford study identifies top #technology priorities for #respiratory #care: #inhalers that show when they are running out. Oxygen equipment light enough to take out of the house. Help telling whether breathlessness is anxiety or the start of a flare-up. https://www.news-medical.net/news/20261001/Oxford-study-identifies-top-technology-priorities-for-respiratory-care.aspx

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[Technology] Trump Names Jay Clayton as AI Czar to Lead 'Super Intelligence Force'

https://globalperspective.net/

#UnitedStates #technology #GlobalPerspectives

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A large room, wood floors and wooden ceiling with steel girders. A blank wall runs behind pvc pipe partitions with gauzy curtains hiding furniture. A bed appears at the end of the picture. the entire space is lit up in neon pink and purple

Lauren Lee McCarthy situates technology firmly within the intimacy of relationships and within the domestic space with LAUREN: Anyone Home? 2024-2026, an installation that imagines a futuristic home. The artist replaces an Alexa-like smart home device with human caregivers/performers who can converse with museum visitors, adjust the lighting in the gallery, or play music. The interactive work contemplates service, surveillance, privacy, labor, and care while provoking questions about the distinctions between human and A.I. McCarthy’s new conception of the installation for MASS MoCA introduces performers other than herself, including museum attendants who will play the role of LAUREN throughout the run of the exhibition.