与「Will_There_Be_a_Next_Time」相关的搜索结果

여름 밤을 촉촉하게 적혀줄 이현의 감성 발라드 '다음이 있을까' 라이브 무대 😭 지금 보러오시죠! 🎤 🎵 #이현# #LeeHyun# #다음이_있을까# #Will_There_Be_a_Next_Time#

Very interested in what the coming era of highly bespoke software might look like. Example from this morning - I've become a bit loosy goosy with my cardio recently so I decided to do a more srs, regimented experiment to try to lower my Resting Heart Rate from 50 -> 45, over experiment duration of 8 weeks. The primary way to do this is to aspire to a certain sum total minute goals in Zone 2 cardio and 1 HIIT/week. 1 hour later I vibe coded this super custom dashboard for this very specific experiment that shows me how I'm tracking. Claude had to reverse engineer the Woodway treadmill cloud API to pull raw data, process, filter, debug it and create a web UI frontend to track the experiment. It wasn't a fully smooth experience and I had to notice and ask to fix bugs e.g. it screwed up metric vs. imperial system units and it screwed up on the calendar matching up days to dates etc. But I still feel like the overall direction is clear: 1) There will never be (and shouldn't be) a specific app on the app store for this kind of thing. I shouldn't have to look for, download and use some kind of a "Cardio experiment tracker", when this thing is ~300 lines of code that an LLM agent will give you in seconds. The idea of an "app store" of a long tail of discrete set of apps you choose from feels somehow wrong and outdated when LLM agents can improvise the app on the spot and just for you. 2) Second, the industry has to reconfigure into a set of services of sensors and actuators with agent native ergonomics. My Woodway treadmill is a sensor - it turns physical state into digital knowledge. It shouldn't maintain some human-readable frontend and my LLM agent shouldn't have to reverse engineer it, it should be an API/CLI easily usable by my agent. I'm a little bit disappointed (and my timelines are correspondingly slower) with how slowly this progression is happening in the industry overall. 99% of products/services still don't have an AI-native CLI yet. 99% of products/services maintain .html/.css docs like I won't immediately look for how to copy paste the whole thing to my agent to get something done. They give you a list of instructions on a webpage to open this or that url and click here or there to do a thing. In 2026. What am I a computer? You do it. Or have my agent do it. So anyway today I am impressed that this random thing took 1 hour (it would have been ~10 hours 2 years ago). But what excites me more is thinking through how this really should have been 1 minute tops. What has to be in place so that it would be 1 minute? So that I could simply say "Hi can you help me track my cardio over the next 8 weeks", and after a very brief Q&A the app would be up. The AI would already have a lot personal context, it would gather the extra needed data, it would reference and search related skill libraries, and maintain all my little apps/automations. TLDR the "app store" of a set of discrete apps that you choose from is an increasingly outdated concept all by itself. The future are services of AI-native sensors & actuators orchestrated via LLM glue into highly custom, ephemeral apps. It's just not here yet.

Don't think of LLMs as entities but as simulators. For example, when exploring a topic, don't ask: "What do you think about xyz"? There is no "you". Next time try: "What would be a good group of people to explore xyz? What would they say?" The LLM can channel/simulate many perspectives but it hasn't "thought about" xyz for a while and over time and formed its own opinions in the way we're used to. If you force it via the use of "you", it will give you something by adopting a personality embedding vector implied by the statistics of its finetuning data and then simulate that. It's fine to do, but there is a lot less mystique to it than I find people naively attribute to "asking an AI".

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.

🚨 BREAKING: High-level talks between the United States and Iran are reportedly resuming in Qatar, but President Trump has already made America’s position impossible to misunderstand: Iran will never be allowed to obtain a nuclear weapon. This is the red line. No weak deal. No Obama-style cash pipeline. No fake diplomacy where Tehran smiles at the table while buying time behind the scenes. The world has watched this game before, and Trump is making it clear that America is not going to sit back while Iran plays negotiator in public and keeps pushing toward a nuclear threat in private. At the same time, reports indicate Israel has instructed its military to be ready to act independently if diplomacy fails, which means the next few days could decide whether this ends with a serious deal or another major escalation in the Middle East. This is exactly why strength matters. Iran understands pressure. Israel understands survival. And President Trump understands that peace only works when America’s enemies believe there will be real consequences if they cross the line. Iran is walking on thin ice. Choose a deal, or face the consequences. 🇺🇸🔥

Hello everyone, As many of you just saw in today’s State of Play, pre-orders for Phantom Blade Zero will open this summer! At the same time, I want to share another update: Phantom Blade Zero will now launch on October 29, 2026, moved from its previous date of September 9, 2026. First of all, I want to offer my sincere apologies to all the players who have been following and supporting us. This was not an easy decision. More than anyone, we understand the expectations our players have placed on us. And precisely because of those expectations, we do not want to release Phantom Blade Zero knowing there is still an opportunity to take it one step further. Looking back over the past few years, the development of Phantom Blade Zero has been a thrilling journey of evolution. As we built the game, we continued learning, refining our technology, and expanding the scale and resources behind the project. From its first reveal in 2023, to its first offline hands-on demo in 2024, to the Seven-Star Sword Formation, Lion Dance, and Drunken Sword showcased in 2025, Phantom Blade Zero has continued to evolve year after year, with each new showing representing a clear leap forward from the last. And we have shared that evolution with players around the world every step of the way. Over the past few months, we have been streamlining content and focusing our efforts on polishing the areas that matter most. During this process, I saw one final opportunity for Phantom Blade Zero to make another meaningful leap forward. We have upgraded a number of character models and reworked many environments across the game, pushing them toward the highest standard we can currently achieve. We have also spent additional effort preserving as much of this visual impact as possible even without relying on ray tracing. Of course, ray tracing will further enhance the visuals, but our priority is to make sure the core look, atmosphere, and intensity of Phantom Blade Zero come through at full force for as many players as possible. A 50-day delay cannot solve everything. But it does give us enough time to complete a number of clearly defined and genuinely important improvements. These refinements will directly affect how the game feels when players first step into the world of Phantom Blade Zero. We could have delivered some of them through post-launch updates, but for the players who choose to join us on day one, we believe they deserve the best version of Phantom Blade Zero we can deliver from the very beginning. I am truly sorry for the delay, and I want to thank everyone who has continued to follow and support Phantom Blade Zero. This summer, we will have much more to show you. I believe every extra day of waiting will be worth it. I'd also like to share what you can expect next: 1. A new trailer that will release alongside pre-orders, featuring entirely new in-game footage. 2. After pre-order opens, we will also have a dedicated State of Play focused entirely on Phantom Blade Zero: a 15-to-20-minute deep dive into the game’s world, combat, exploration, and character progression systems. The vast majority of what we show there will be brand-new. We will share the exact dates in upcoming announcements! Once again, thank you all for your continued support! Soulframe S-GAME CEO / Creator of Phantom Blade Zero

At midnight on February 6th, earlier this year, the doorbell to our apartment rang. The doorbell was followed by a pounding on the door. I answered the door and a security person in our building handed me his phone. It was my oldest daughter Eloise. She had found my 26-year-old daughter unconscious on the floor of her apartment and had called 911. The EMT team was already there, but they did not know what was wrong with Lucy or to which hospital they would take her. I threw on some clothes and jumped in an Uber heading east toward Brooklyn. (Lucy lived alone in Williamsburg.) On the way, I learned that they were taking her to Elmhurst, a City trauma hospital in Queens. I arrived about five minutes after the ambulance to join Eloise, Lucy’s mom, and a friend, and waited to learn what was wrong. After about 15 minutes, I asked a nurse where she was. I looked over his shoulder to his computer. Next to her name, it said “non-responsive.” I walked into the emergency room and wandered around looking for her until I found her unconscious on a gurney surrounded by several doctors and nurses. By about 2:30am with the results from a CAT scan, Lucy’s doctors had determined that she had a massive brain hemorrhage and would need an emergency hemicraniectomy to release the pressure on her brain and remove the blood from the hemorrhage. I called our wonderful friend and family doctor Eddie Fisher and explained what was going on. He woke up Josh Bederson, Chairman of Neurosurgery at Mount Sinai, to find out more about Zach Hickman, the neurosurgeon on call that night. Dr. Bederson said Hickman was an excellent surgeon, which was comforting as we had no choice. The surgery to save Lucy’s life began around 3:15am and finished around 5:30am. It was successful. The following day, I joined Lucy in an ambulance while she was being transferred to Mount Sinai on Madison Avenue. Later that day, we determined from Lucy’s Oura ring that her hemorrhage had occurred around 9am, which meant that more than 19 hours had passed from the time of the hemorrhage to the completion of the surgery to release the pressure on her brain (I only wish @ouraring had an alert for this kind of a medical event. Imagine it could call a family member if the wearer doesn’t cancel the alert). I later learned that the standard of care is not to do surgery to save a patient with a large brain bleed if more than five hours have passed since the hemorrhage. Even when the surgery is done, I was told that the likely outcome for the patient is a few months in a nursing home and death from pneumonia. When I met Lucy’s doctors, I did my best to inspire them: “Let’s see what can be accomplished if we give her the best care possible and we invest unlimited resources to restore her to life.” And I promised that whatever we learned we would make available to everyone. Dr. Chris Kellner, her neurosurgeon, and Dr. David Putrino, Director of Rehabilitation Innovation for the Mount Sinai Health System have led Lucy’s care team since that day. Words cannot describe the remarkable and compassionate care that she has received beginning with the EMT team and then from nurses, doctors, therapists, and the army of people who have worked to save her and return her to life. To this day, we have a daily Zoom where we discuss her progress and make adjustments to her care. While her care and oversight have been incredible, the learnings for the Mount Sinai team have also been elucidating and will assist in the care of many others. Lucy began in a bad place. She was in a coma for several weeks and then awoke not being able to breathe on her own, unable to walk, see or speak. Over the last six months, she has recovered her cognition – she understands everything including her circumstance – is able to walk a hundred or more steps at a time with assistance, is making progress with sounds, vowels and consonants and the beginnings of speech, but she remains unable to see. Each day, she makes a little progress, and daily progress compounds. Every day I tell her that she just needs to make a little progress and it won’t be long before she is back. We remain optimistic that Lucy will return to normal function. It will likely take years, but I believe it is only a matter of time, hard work, and technological progress, along with some, and perhaps a lot, of divine intervention. Many people have been praying for Lucy and we are incredibly grateful for the prayers and remarkable support she has received. Lucy’s friends have been with her every day since the beginning, and their presence and friendship have saved her life and helped to rebuild and maintain her spirit. And on a very positive note, Lucy’s challenge has brought together our entire modern family who have all been incredibly devoted to her care and recovery. Lucy's vision and other faculties may require some form of brain computer interface, work that is underway at Neuralink, Precision Neuroscience, Science, Synchron, Nudge, and other companies in the space. If you are going to have a devastating brain injury, now is the best time in history for that to happen. We are living in a world when you can be confident that the blind will soon see again. We are going to do everything we can to help make that happen, including by assisting existing companies in the space. With respect to our promise to make Lucy’s care available to others, we have made good progress. In May, a real estate colleague made me aware of a 93% vacant, brand new, 400,000 square foot Class A+ purpose-built biotech facility on West End Avenue between 65th and 66th Streets that missed the market and was available for sale. The Pershing Square Foundation acquired the building 60 days later. We also put under contract an adjoining 130,000 square foot building at 320 West 66th Street that is currently being used by Saturday Night Live for studio space. The building has 35-foot ceilings with massive column-free spaces that can be converted into superb rehabilitation facilities. We will close on the SNL building in December. We are also acquiring an adjoining vacant lot with additional air rights. With just the existing zoning rights, we can add a 150,000 square feet for a total of 680,000 square feet, a lab footprint larger than Rockefeller University, and that’s without including the potential for an upzoning that would allow for substantially more buildable area on the site’s 3.4 acres with spectacular views of the Hudson. Our goal is to build the world’s greatest brain research, rehabilitation, recovery, human optimization, and longevity institute. We have named it The Ackman Oxman Institute or the AOI for lack of a better name, but also to reinforce the point that Neri and I and our family are all-in on the mission. The AOI will be patient-centric. It will not be an academic research institute that produces lots of papers, a Nobel Prize winner or two, but little if any results for patients. We will be laser-focused on cures, treatments, devices, rehabilitation and exercise equipment, and targeted and basic research with a goal of massively accelerating the time from idea to innovation to production to helping a patient. While the AOI will be a non-profit, it will have highly commercial instincts. The AOI will have its own venture funding and will work to develop innovations to create companies that we will seed, assist, and spinout to ensure technologies, treatments, techniques, and drugs get to patients as promptly as possible. On one 3.4 acre campus in what is still the greatest city in the world, we will do neurosurgery, neuroscience, rehabilitation, nutrition, BCI and device development, human trials, hyperbaric oxygen treatments, and life extension programs, and we will mandate and incentivize collaboration among the teams with no silos, politics, bureaucracy, or any other constraint that is inconsistent with the mission. Mount Sinai will be an important partner and deservedly so, but it won’t be our only hospital or medical school partner as we don’t believe any institution has a monopoly on the best ideas or the best talent. We don’t believe in exclusive relationships because that is not in the best interest of patients. Five years ago, we considered launching a brain institute inspired by Neri’s mom who sadly died from Alzheimer’s. We couldn’t make the math work as the real estate was too expensive and we believed it would be too difficult to recruit the best talent from universities to our effort. Since then, the real estate became available at a 70% discount, universities became a much less attractive place to work due to politics outweighing meritocracy, protests that disrupt learning, the curse of antisemitism, and a decline in funding. Fortunately, during the same time, I made sufficient personal economic progress to make the AOI possible. The advance of AI in the last few years will also enable us to greatly accelerate our mission. AI still has a lot to learn about human intelligence and the brain, and the AOI should be at the forefront of the interplay between the brain and AI. Today, I am making a public filing disclosing a gift from Neri and me of ~$400 million or 10,000,000 shares of Pershing Square Inc. (PS) to the AOI. It is very early days for Pershing Square so these shares are intended to anchor the long-term work of the AOI as the shares compound over time while generating what we expect will be a growing stream of quarterly dividends to fund the Institute. We will also be announcing an additional gift of similar and potentially greater size which won’t be in the form of Pershing Square stock to provide the AOI with the short- and intermediate-term runway necessary to enable it to achieve its goal of becoming a self-sustaining institute, which reinvests all of its revenues, royalties, and the economic rewards of company formation to advance the fields of brain health and human longevity. Neri and I have chosen to anchor the funding of the AOI to maintain vision alignment and limit the need for the organization to focus on fundraising. We expect the AOI to be the best-resourced brain, rehab, recovery, and longevity institute in the world. We are grateful to have been able to form a board which includes Dean Kamen (our generation’s Thomas Edison), George Yancopoulus (CEO of Regeneron), James Rothman (Nobel Laureate), Bernardo Sabatini (neuroscientist), Chris Kellner (neurosurgeon), Olivia Flatto (CEO Pershing Square Foundation), Neri Oxman, and myself. We have recently identified a CEO who we expect to announce by October along with other key hires, and are beginning searches for a Chief Scientific Officer, a Chief AI/Technology Officer, a Chief Operating Officer, a Chief Financial Officer, and other key leadership roles. If you find what we are building compelling and want to be part of the leadership team that creates and builds the AOI from a standing start, please send an email to: search@aoiinst.org with a short note as to why you believe you can help. Please include your best three ideas for the AOI along with a summary of your background and your most important accomplishments. We promise strict confidentiality to those expressing interest in working with us. We have learned from Lucy that the brain can recover from even catastrophic injury. There is so much more work to be done as the mind is a terrible thing to waste. For details from my Pershing Square SEC filing see:

Elon Musk closed Tesla’s earnings call with a most exciting message: “We’re super excited about our autonomy and robotics roadmap. There is so much awesome stuff coming that it is difficult to squeeze everything into an earnings call We will have a lot of product announcements This is going to be a great year for Tesla....one of our best years ever and I think next year will be even better. I want to thank the Tesla team for their excellent execution and all of our supporters for joining us on this journey” Tesla is entering one of the most ambitious chapters in its history Robotaxi, Optimus, AI compute, new chips and major product announcements are all moving forward at the same time

AI Is Moving Beyond “Generating Videos” — Toward “Generating Worlds” Over the past two years, AI video models have advanced at an astonishing pace. From Runway and Pika to Sora and Veo, AI-generated videos have become increasingly realistic and more consistent with the physical laws of the real world. Many people believe the next objective is simply to generate videos that are longer, sharper, and more lifelike. But if we take a step back, we can see that the real transformation is not happening in video itself. It is happening in world models. What Is a World Model? In 1943, psychologist Kenneth Craik proposed an idea that would influence artificial intelligence research for decades. He argued that the human brain does not merely react to the outside world. Instead, it maintains an internal model of how the world works. Because we have this internal model, we can predict the outcome of an action before we actually take it. Before crossing a road, we estimate whether a car will pass by. Before catching a ball, we predict its trajectory. These abilities come from continuously simulating the world in our minds, rather than relying entirely on trial and error. This idea later became known by a more formal term: World Model. A world model does not describe a single image or a fixed video clip. It is an internal representation capable of continuously simulating the rules and dynamics of the real world. Why Is AI Research Turning Toward World Models? Because predicting “what comes next” is becoming increasingly central to how AI systems work. Language models predict the next token. Image models predict the next step in the denoising process. Video models predict the next frame. A world model, however, attempts to predict something broader: What should the world look like in the next moment? In 2018, David Ha and Jürgen Schmidhuber proposed in their paper World Models that an intelligent agent could first learn a model of the world, and then use that internal model to plan its actions. The Dreamer series later demonstrated that many complex tasks could be learned by training agents inside an “imagined world.” At the same time, the development of video models such as Sora and Veo led researchers to another realization: A model capable of continuously generating video has already learned, at least implicitly, many of the rules governing the real world. As a result, these two research directions have gradually begun to converge. But Video Is Not Yet a World This is where the distinction is often misunderstood. For a world model to support meaningful real-time interaction, it must solve several critical problems. Most video models today are essentially answering one question: What should the next frame look like? A true world model needs to answer much more: What happens if I take one step forward? If I walk behind a building and then return, will the building still be there? If I suddenly change the camera angle, will the entire space remain consistent? If I enter a command such as: “Summon a dragon.” Will the world respond immediately? In other words, a world model must do more than generate content. It must understand space. It must understand time. It must understand causality. And it must understand interaction. Moving from watching to participating is where the real difficulty of world models begins. World Models Are Entering the Interactive Era One of the latest attempts in this direction is Alaya World, recently open-sourced by Alaya World, or @alayastd. Instead of generating a fixed video clip, it generates a world that users can explore in real time. Users can begin with text, an image, or a video, enter the generated scene, move freely through it, and introduce new prompts at any moment during generation. The world responds immediately. According to the publicly released information, Alaya World provides: Real-time streaming generation at 720p and 24 FPS Stable continuous exploration for more than one minute The ability to switch prompts and trigger skills or events during generation Model weights and inference code released under the Apache 2.0 License Training code and datasets planned for future release What makes these capabilities important is not simply the technical specifications. It is that the generated “world” can now support continuous interaction. The official demo shows that users can genuinely control, transform, and explore the generated environment. AI Is Evolving From a Tool Into an Environment Over the past few years, most discussions around AI have focused on content generation. Generating text. Generating images. Generating videos. But world models raise a fundamentally different question: Can AI generate an environment that people can inhabit, explore, and continuously evolve? If the answer is yes, the impact will extend far beyond video generation. Game development, robotics training, embodied intelligence, digital twins, virtual production, and many other fields could be transformed by the development of world models. World models are still at a very early stage. Yet from Craik’s proposal of an internal mental model more than eighty years ago to the emergence of today’s interactive world-generation systems, a clear evolutionary path is beginning to take shape. Perhaps what AI is ultimately learning has never been limited to images, videos, or language. Perhaps it is learning the world itself. References GitHub: Technical Report: