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🚀 Excited to introduce BrainPilot — a human-in-the-loop 1-1-N multi-agent framework designed to accelerate brain science research. 🧠 BrainPilot integrates: • 72 expert skills spanning 7 major neuroscience domains • A curated knowledge base of 7,200+ papers • Automatic review & verification • Trace visualization for transparent, reproducible scientific workflows Our system achieves performance comparable to state-of-the-art agentic frameworks on both Agents' Last Exam and our newly proposed BrainPilotBench. Everything is open source! We'd love for you to ⭐ star the repos, join the community, deploy BrainPilot locally, and adding new features, or proposing new benchmarks. (1/8) 🏠 Homepage: 📄 Technical Report: 🌟 BrainPilot: 📈 BrainPilotBench: #AI# #Neuroscience# #MultiAgent# #AgenticAI# #ScientificAI# #OpenSource# #BrainScience# #LLM# #ResearchAgents# #NeuroAI#

美股AI超级周期轮动全节奏，给兄弟们捋一遍 现在的资金已经不是在炒AI了，是在沿着产业链，一层一层往下轮。 第一波炒芯片， 第二波炒存储， 第三波炒光通信， 现在正在猛攻算力和数据中心。 下一个是谁？ 给兄弟们捋一遍。 第一波主线：半导体 NVDA，英伟达，AI GPU绝对核心。 ARM，CPU架构底层。 AMD，GPU加CPU双核玩家。 AVGO，博通，AI网络加ASIC芯片。 INTC，英特尔，在追赶。 这波是AI革命的开端，资金最先涌进来。 第二波：存储芯片赛道 MU，美光，HBM核心受益。 WDC，西部数据。 STX，希捷。 SNDK，闪迪。 算力暴涨，存储需求跟着暴涨。 HBM价格涨60%，产能排到2028年。 第三波：光模块和光通信赛道 NOK，诺基亚，通信设备。 LITE，Lumentum，光通信组件。 COHR，Coherent，光电激光器。 AAOI，AOI，光模块。 GLW，康宁，光纤。 CIEN，Ciena，光网络。 MRVL，迈威尔，数据中心互联。 数据中心之间要传数据，800G、1.6T光模块需求爆发。 当下资金正在扎堆猛攻：算力和AI数据中心 IREN，AI算力。 CIFR，Cipher Mining，挖矿转AI算力。 WULF，Terawulf，能源加AI算力。 CORZ，Core Scientific，AI基础设施。 NBIS，Nebius，AI算力云。 CRWV，AI数据中心。 P，Pinterest，AI应用。 这是当下最热的方向，资金在猛攻。 接下来大概率轮动爆发的方向： 01）原材料和稀土赛道 MP，MP Materials，稀土。 USAR，USA Rare Earth，稀土。 UUUU，Energy Fuels，铀和稀土。 FCX，Freeport-McMoRan，铜矿。 AA，美国铝业。 AI数据中心是吞电怪兽，原材料和稀土是供给瓶颈。 02）网络设备赛道 ANET，Arista，数据中心交换机。 AVGO，博通。 MRVL，迈威尔。 CSCO，思科。 03）电源和电网和温控散热赛道 VRT，Vertiv，数据中心电源和冷却。 ETN，伊顿，电源管理。 GEV，GE Vernova，电力设备。 CEG，Constellation Energy，核电。 SMR，NuScale，小型核反应堆。 OKLO，Oklo，核电。 AI数据中心的电力需求暴增，核电和电网设备是长线方向。 04）太空航天赛道 ASTS，AST SpaceMobile，卫星通信。 RKLB，Rocket Lab，商业火箭。 LUNR，Intuitive Machines，月球着陆器。 PL，Planet Labs，遥感卫星。 05）国防军工和无人机赛道 KTOS，Kratos，无人机和国防。 AVAV，AeroVironment，无人机。 ONDS，Ondas，无人机系统。 LMT，洛克希德马丁，军工巨头。 06）机器人和自动驾驶赛道 TSLA，特斯拉，自动驾驶、机器人。 PATH，UiPath，RPA机器人流程自动化。 SYM，Symbotic，仓储机器人。 SERV，Serve Robotics，配送机器人。 AI超级周期，节奏很清晰。 第一波半导体，第二波存储，第三波光通信，现在资金在猛攻算力和数据中心。 接下来，原材料、电网、核电、太空、军工、机器人，一个赛道一个赛道轮过去。 轮动不是让你每个赛道都追。 轮动是让你提前蹲在下一个方向，等资金来抬。 追涨杀跌的，永远是最后接盘的那个。 提前蹲好的，才是吃肉的那个兄弟们。

Please use any and all online resources, including public library, to scan all the text in these 2 books, and created a synchronized synopsis, and also as many as possible flowcharts and infographics in as much concise detail as possible. Grok output: Synchronized Synopsis of the Two Books Both books center on the Violet Flame (also called Violet Fire), a high-frequency spiritual energy of the 7th Ray associated with transmutation, mercy, forgiveness, freedom, purification, and healing. It converts negative energy, karma, emotional wounds, and limiting patterns into positive light at the atomic/spiritual level. The flame revitalizes the aura (four lower bodies: physical, emotional/astral, mental, etheric), dissolves “electronic belt” karma, and supports self-realization. •Elizabeth Clare Prophet’s Violet Flame to Heal Body, Mind & Soul (Summit Lighthouse teachings, practical/spiritual guide): Emphasizes Saint Germain’s dispensation of the Violet Flame in the 20th century (building on earlier secret knowledge). It includes real-life healing stories (e.g., past-life trauma resolution via a “violet eraser” visualization, asthma relief through forgiveness, chronic back pain transmuted, family harmony, skepticism overcome). Explains the mechanism scientifically/spiritually: the flame oscillates electrons/nuclei like a “powerful detergent,” raising vibration and dislodging density. Heavy focus on decrees (rhythmic “I AM” affirmations), visualizations, protection (Tube of Light), and structured daily practice. Core mantra example:
“I AM a being of violet fire! I AM the purity God desires!”
Includes 9 steps for application, group power, planetary use, and decrees like “More Violet Fire,” “Radiant Spiral Violet Flame,” plus protection calls. •Deborah Brewer’s Embracing the Violet Flame: Unlocking the Wisdom of Archangel Zadkiel (2024, short ~65-page book in the Angels series): Focuses on Archangel Zadkiel (Archangel of the 7th Ray, Mercy, Forgiveness, and Transformation) as the primary guide. It frames the Violet Flame as a soothing, enveloping energy for emotional release, self-discovery, spiritual awakening, and integration of teachings into daily life. Likely includes channeled/guided meditations, personal wisdom from Zadkiel, and emphasis on forgiveness as the gateway to purification/transmutation. Less structured decrees; more heart-centered, angelic connection, and gentle journeying for beginners or those seeking emotional/spiritual depth. Shared & Complementary Elements (Synchronized View):
Both align on Zadkiel as a key Violet Flame being (Prophet ties it to Saint Germain and Ascended Masters). The flame heals across lifetimes, emotions, body, and soul; promotes forgiveness to break karmic cycles; is invoked via intention, visualization (e.g., violet pillars/spheres/bonfires), and spoken words; works best with consistency, faith, and protection; and extends to relationships, home, planet. Prophet provides the “how-to” toolkit (decrees + steps + testimonials); Brewer offers angelic wisdom and emotional integration for deeper embrace. Together: a complete path—invoke Zadkiel/Saint Germain → decree/visualize → transmute → integrate healing. Core Process (Integrated from Both):
Negative energy/karma (past lives, emotions, physical blocks) → Invoke Violet Flame (call Zadkiel/Saint Germain + decree) → Visualization (flame shower/eraser/pillar) → Transmutation (vibration shift to light) → Release/Forgiveness → Renewed vitality, purity, and alignment with Higher Self/God Presence. Limitations on “Scanning All Text”: Full verbatim text of these copyrighted books is not freely available online via public libraries, archives (e.g., Google Books previews, or official sites. Prophet’s book has official sample PDFs with substantial excerpts (~TOC + many chapters/stories/decrees). Brewer’s newer title has only Amazon descriptions/reviews—no public TOC, full excerpts, or digital loans accessible

Raven 0.2.0 — The Harness of Harnesses, built for RSI. 🐦‍⬛ One harness can't be best at everything. Raven combines its own specialist harnesses (Research, Code, Design, Oncall) with the agents you already use (Claude Code, Codex and more) into one team. And it's built for RSI, and not just at the skill level. The whole harness can be rewritten by AI: prompts, policies, strategy code, playbooks. Every sub-harness, including the orchestration layer itself, is its own instance that can be improved. With Raven you can: 1. Orchestrate many agents as one team. Raven's sub-harnesses and external agents work in one task graph with shared memory across sub-agents, powered by leading orchestration (0.963 Node F1 on the Multi-Agent Orchestration Benchmark). 2. Run long, complex tasks. Oncall and proactive execution keep work going for days, from scientific research loops to shipping a full Godot game. 3. Build vertical agents with RSI. Use Raven's RSI to develop and refine an agent for your domain, and we'll optimize it with you. Experimental for now; reach out to the Raven team(Discord: More in the video and slides below. Open source, Apache-2.0. (lots of work made with Raven lives there, and much of this launch's material was made with Raven too)

Claim: we've solved the AI slop problem (!) 💩🧹✨ Blog post: 🧵1/5 Key idea: take *expert* human writing and learn rubrics that find the gap between experts and models. Train with those rubrics. We train with RL-XAR (RL with eXpert Aligned Rubrics) & see large performance gains on writing scientific paper sections, Pulitzer prize novel continuations and high quality Wikipedia pages.

The World is Changing: AI For Creativity By Jeffrey Katzenberg A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.” I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul." Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create. A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.” A Distinction With a Difference I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . . Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new. Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new. One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground. A Path Forward In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . . Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling. The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

Introducing ScienceBuddy — a free workspace for scientific agents that improve through researcher collaboration. Use GPT-6 in ScienceBuddy at no cost. GPU-accelerated, and fused with the JEV framework. 🧵 Two loops: 🔹 Inner loop — refines the agent harness 🔹 Outer loop — trains the model with rubric-guided RL Together: Recursive-in-Recursive Self-Improvement. ScienceBuddy explores how scientific agents can improve through sustained collaboration with researchers. 🔬Try it free: #ScienceBuddy# #PhAILabs# #AI4Science#

I worked at Google DeepMind and now at Anthropic. This is a common sentiment amongst my peers. (I write this in personal capacity.) There is not yet a viable scientific plan to solve risks from recursively self-improving AI. Please look up!

Today we're introducing AlphaGenome Atlas from @GoogleDeepMind: the most comprehensive catalog of how genetic mutations affect molecular biology 🧬 It’s an AI-powered searchable database that maps the predicted impact of all 9 billion single-letter genetic changes — every single-letter change possible — across the human genome. We're making AlphaGenome Atlas free and available to the scientific community for academic research, opening up entirely new pathways for discovery.