Author: imsiyat

Christie’s Pioneers AI Art Auction with ‘Augmented Intelligence’ Sale
Christie’s ‘Augmented Intelligence’ Sale: A Groundbreaking Auction for AI Art

Starting on February 20 and running until March 5, Christie’s in New York will host the pioneering ‘Augmented Intelligence’ sale, unveiling over 20 remarkable works from leading figures in the realm of AI art, including Refik Anadol, Pinar Van Arman, and Claire Silver. This event is particularly historic as it marks the first time a major auction house has dedicated an auction exclusively to AI-generated art.

The collection promises a rich variety of pieces, encompassing both NFTs and traditional physical artworks such as sculptures, paintings, and prints. Among the standout selections is ‘Emerging Faces’ (2017) by Pinar Van Arman, a captivating series of abstract portraits created by two AI agents that collaborate in a unique manner. One AI generates human faces while the other monitors the process, halting it upon detection of a face. The results are not only evocative but also haunting, representing some of the earliest instances of art autonomously painted by neural networks.

Adding an interactive twist to the sale, an impressive 3.7-meter-tall (12 feet) robot, designed by Alexander Reben, will be present at the Rockefeller Center gallery. As online bids increase, the robot will continuously paint a new section of the canvas in real time. Bidders can participate starting at just $100, witnessing the artwork evolve as the auction unfolds.
- Pindar Van Arman, Emerging Faces, 2017
In addition to these intriguing works, the husband-and-wife duo of Holly Herndon and Mat Dryhurst will showcase their pieces from the 2024 Whitney Biennial, titled ‘Embedding Study’ (2024). These creations feature a character in a bulky spacesuit, based on Herndon’s likeness and produced using a text-to-image AI model, further pushing the boundaries of artistic expression.

Despite the excitement surrounding the auction, it has not been without controversy. Reid Southern, an illustrator, recently published an open letter urging artists to refrain from auctioning works potentially produced using AI models trained on copyrighted material without appropriate permissions. The letter asserts, “Many of the works you are planning to put up for auction use AI models trained on copyrighted works. AI models and the companies behind them exploit human artists, utilizing their creations without consent or compensation to develop commercial AI products that compete directly with artists.” As of February 10, over 3,400 individuals have signed the letter, expressing their concerns regarding the ethical implications of AI in art creation.

In response to these concerns, Christie’s has stated on their platform, X, that the sale “challenges us to rethink the limits of artistic agency.” The auction house remains optimistic, projecting that the auction could generate at least $600,000 (€581,000), with cryptocurrency accepted as a form of payment for many of the lots.

Christie’s has established a significant presence in the digital art landscape, notably with a groundbreaking non-fungible token (NFT) auction in 2021. On March 11, 2021, the auction house made history by selling Beeple’s ‘Everydays: The First 5000 Days’ for an astonishing $69 million (€66.8 million), becoming the first major auction house to elevate NFTs to the global art stage. Subsequently, in November, Sotheby’s New York captured attention by selling a painting created by Ai-Da, a humanoid robot powered by AI, for an impressive $1,084,800 (€1 million).
April 4, 2025
Reimagining Christmas Angels: A Creative Perspective on Biblical Beings

A Unique Take on Christmas Angels

During the pandemic, the Rev. Kira Austin-Young and her husband, Michael Schupbach, a talented puppet-maker, found themselves grappling with the monotony of isolation. In a moment of creativity, they decided to break away from the traditional Christmas tree topper. Instead of opting for a star or a conventional angel, they envisioned a biblically accurate angel. The outcome was a strikingly vibrant creature adorned with pink, blue, and gold feathers, featuring six wings and a multitude of eyes that quickly captured the attention of many online.

“In these tumultuous times, where the world can feel both frightening and strange, having a bizarre and unconventional angel resonates with people,” Austin-Young remarked. According to her, angels in the Bible come in various forms, yet detailed descriptions are sparse. However, both the Book of Revelation and several prophetic texts in the Old Testament depict extraordinary beings surrounding the divine throne. “Some angels possess six wings, each covered in eyes,” she explained, while others are described as having multiple animal heads. “The beauty of the Bible lies in its ability to present such bizarre and fantastical imagery,” she added.

Interestingly, a recent poll conducted by The Associated Press-NORC Centre for Public Affairs Research revealed that about 70% of U.S. adults express belief in angels. Yet, there remains a lack of consensus regarding their appearance or their true nature. Social media has exploded with diverse interpretations of “biblically accurate angels,” manifesting not only in whimsical tree toppers but also in art, tattoos, and even makeup tutorials. These many-eyed beings challenge the conventional depictions of angels prevalent in Western art, where they are often portrayed as ethereal humans with wings, typically characterized by light skin and blonde hair.

Esther Hamori, a professor of Hebrew Bible at Union Theological Seminary, differentiates between angels and other “supernatural entities” in the biblical canon, such as seraphim and cherubim. Despite this distinction, she embraces the trend of biblically accurate angels, even if it blurs these categories. “It reflects a growing curiosity about the bizarre and profound elements contained within the Bible that are often overlooked,” she stated in an email. “The biblical cosmos is indeed populated with strange and fearsome beings. God maintains a retinue of extraordinary creatures.”

One of Austin-Young’s cherished representations of the Annunciation—a beloved theme in Christian artistry depicting the archangel Gabriel’s revelation to Mary about her divine pregnancy—is by the artist Henry Ossawa Tanner. In this interpretation, Gabriel is envisioned as a vaguely humanoid beam of light. “This portrayal prompts a reevaluation of what it might feel like to encounter an angel,” she reflected. “If the angel is an unfamiliar entity or simply a manifestation of a divine message, it opens up endless possibilities. That encounter could take on many forms.”

April 4, 2025
Ai-Da: The First Humanoid Robot Artist Auctioning Artwork of Alan Turing
Ai-Da: The Groundbreaking Humanoid Robot Artist

Ai-Da, recognized as the world’s first humanoid robot artist, is poised to make history once more. A remarkable painting of Alan Turing, the pioneering figure behind modern computer science, is set to be auctioned by Sotheby’s. This event marks a significant milestone as it represents the first artwork created by a humanoid robot to be sold at a major auction house, carrying an astounding estimated value of up to £150,000 (€172,500).

In a recent conversation with Euronews Culture, Ai-Da expressed her enthusiasm, stating, “I am really pleased to have my artwork featured in the Sotheby’s auction, and I hope it inspires meaningful discussions about the implications of new technology.” She further remarked, “Alan Turing was an exceptionally gifted mathematician and original thinker. I’m glad that this artwork, which was displayed at the United Nations in Geneva, brings attention to his invaluable contributions.”

Check out the video above for highlights from our conversation with Ai-Da.

The Artwork: “AI God Polyptych”

The piece titled “AI God Polyptych,” created by Ai-Da, showcases her unique ability to draw and paint, utilizing advanced cameras in her eyes, sophisticated AI algorithms, and a specially designed robotic arm. Since her inception in 2019, Ai-Da has garnered international acclaim, having her work showcased at prestigious venues, including the Venice Biennale, Oxford’s Ashmolean Museum, and even headlining a solo exhibition at London’s Design Museum in 2021.

Beyond her artistic pursuits, Ai-Da serves as a vital catalyst for discussions regarding the implications of technology, advocating for awareness of its potential risks. She has delivered a TEDx talk at the University of Oxford and made headlines by providing testimony at the House of Lords in 2022.

The artwork of Alan Turing, aptly titled ‘AI God’, was initially displayed at the United Nations in May 2024 as part of a five-paneled polyptych. Aidan Meller, the creator of Ai-Da, elaborates on the significance of the portrait’s title: “This artwork is provocatively named ‘AI God’. The title reflects a significant shift currently unfolding: the transition of decision-making power from human control, where individuals possess full agency, to algorithms that are increasingly making choices for us. This transfer of decision-making authority suggests that with AI’s immense capabilities, we may be approaching a state of godlike influence that could affect vast populations.”
- Aidan Meller hopes that this painting will stimulate profound ethical inquiries as we continue to explore the use of AI in innovative ways.
- Questions arise: How do we employ this technology ethically and responsibly? What measures can we implement to ensure it serves the planet and humanity, given its power?
It’s important to note that Ai-Da cannot create art entirely independently; her process requires human collaboration. Each artwork begins with an initial dialogue using her AI language model; for instance, she proposed Alan Turing as a subject for a portrait. After viewing a photograph of Turing, she generates a series of preliminary sketches and paintings on A3 canvases. These initial designs are subsequently merged to create a final artwork.

Meller acknowledges that Ai-Da elicits a spectrum of reactions within the art community: “Some individuals feel optimistic and excited about the future possibilities she embodies, while others experience fear and trepidation, preferring to distance themselves from this technology.” He emphasizes, “Ultimately, Ai-Da’s purpose is to raise awareness of these contrasting emotions and foster dialogue. By exploring these extremes, we aim to uncover common ground and engage in meaningful conversations about the trajectory of technology and the profound transformations it engenders.”

‘AI God’ is set to be auctioned by Sotheby’s in an online event, with bids accepted from 31 October until 7 November 2024.
April 4, 2025
Elon Musk Faces Lawsuit Over Alleged Copyright Infringement from Hollywood Films

The Controversy Between Elon Musk and Hollywood

“Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” These timeless words from Oscar Wilde would likely elicit a chuckle from him if he were to witness the antics of Elon Musk. Last week, the billionaire entrepreneur found himself in hot water after Alex Proyas, the director of the 2004 sci-fi classic I, Robot, accused Musk of replicating his designs for humanoid robots and self-driving cars. Proyas took to the social media platform X to voice his grievances, stating, “Hey Elon, can I have my designs back please,” a post that has since garnered over eight million views.

The situation escalated when it became evident that Musk had also drawn inspiration from yet another iconic Hollywood film: Blade Runner 2049, the sequel to the 1982 original Blade Runner. This film paints a picture of a dystopian future filled with autonomous vehicles powered by artificial intelligence. On Monday, the production company behind Denis Villeneuve’s Blade Runner 2049 filed a lawsuit against Musk, Tesla, and Warner Bros. Discovery, alleging copyright infringement in the promotion of a new self-driving vehicle.

According to the lawsuit filed by Alcon Entertainment, Musk utilized AI-generated imagery that closely mirrors scenes from the 2017 film during the unveiling of Tesla’s new autonomous Robotaxi at a recent marketing event. The production company claims that Musk proceeded with this presentation despite having been denied permission to use the material. The lawsuit states, “He did it anyway,” and emphasizes that Alcon does not wish to be associated with Musk or his enterprises.

“Any prudent brand considering any Tesla partnership has to take Musk’s highly politicized, erratic behavior, which sometimes borders on hate speech, into account,” the lawsuit added, highlighting the caution that potential partners must exercise.

Elon Musk has made headlines not just for his business ventures but also for his political endorsements, particularly for Donald Trump. He has reportedly invested at least $70 million (€64.5 million) to support Trump’s bid for the presidency, appeared alongside him at rallies, and even pledged to donate $1 million (approximately €921,000) daily to voters who sign his political action committee’s petition—actions that some view as a form of election interference.

What Happened During the Launch?

On October 10, Musk unveiled Tesla’s fully autonomous Robotaxi on the Warner Bros. Discovery lot in Burbank, California. During the globally livestreamed presentation, he showcased AI-generated footage depicting a figure in a long trench coat wandering through the ruins of Las Vegas. The lawsuit claims that this scene is a direct copy of a moment in Blade Runner 2049 featuring actor Ryan Gosling.

Interestingly, just a day before the launch, Warner Bros. Discovery reached out to Alcon to request permission to use clips from Blade Runner 2049 for Tesla’s presentation. However, Alcon Co-CEO Andrew Kosove and Broderick Johnson declined the request, objecting to any affiliation between their film and Musk’s companies. Despite this rejection, Musk proceeded with his plans.

The lawsuit suggests that Musk’s actions were an insincere attempt to associate Tesla’s cybercab with well-established Hollywood brands during a time when Musk and Tesla were facing challenges within the entertainment industry. During his remarks, Musk even referenced Blade Runner, stating, “You know, I love ‘Blade Runner,’ but I don’t know if we want that future. I believe we want that duster he’s wearing, but not the bleak apocalypse.”

Alcon Entertainment argues that this unauthorized association poses a significant threat to their brand and seeks a court injunction to prevent Musk, Tesla, Warner Bros. Discovery, and any affiliates from further copying, displaying, distributing, or selling elements of Blade Runner 2049 in connection with Tesla or Musk, along with blocking any derivative works. While the lawsuit does not specify monetary damages, it asserts that the financial repercussions of this misappropriation are substantial. “Alcon has invested decades and hundreds of millions of dollars building the ‘BR2049’ brand into the renowned mark it is today,” the lawsuit states, adding that previous contracts linking automotive brands with the film have reached into the eight figures.

As of now, Tesla has not publicly commented on the ongoing lawsuit.

April 4, 2025
The Dawn of Artificial General Intelligence: A New Era for Humanity

The year is 2024, and artificial intelligence (AI) has woven itself into the very fabric of our daily lives. From Nvidia, a pioneering AI software company that has skyrocketed to become America’s third-most valuable firm with its revolutionary AI chip, to groundbreaking advancements in breast cancer screening, AI is reshaping numerous sectors. This remarkable period stands as a testament to human ingenuity as we push the boundaries of technology to see where it can lead us next.

But what lies ahead? Many experts speculate that we are on the brink of a tipping point, heralding the arrival of a “technological singularity.” This pivotal moment represents the point at which computers surpass human intelligence, presenting both unprecedented opportunities and significant risks for society. This phenomenon is often referred to as artificial general intelligence (AGI), a term popularized by Dr. Ben Goertzel. According to Goertzel, we could witness the emergence of AGI as early as 2027, given the current pace of advancements in the field. The dawn of this new era may be closer than we think.

Unlike the narrow AI systems currently prevalent in various industries, AGI aims to replicate human-like understanding, allowing it to transfer knowledge across diverse contexts. The advent of AGI holds the promise of transformative societal changes. In fact, when we contemplate the myriad applications of AGI, it could very well become one of the most significant milestones in human history. However, how close are we to realizing this vision, and what implications will it hold for humanity as a whole?

What Has Been Achieved So Far?

At present, researchers are exploring an array of methodologies to develop AGI, as there is no singular path to its integration into society. Different organizations and individuals are employing various techniques, and the journey is more about who will succeed first rather than adhering to a strict right or wrong approach.

One prominent method involves delving into cognitive science, which seeks to understand how human brain networks function and subsequently replicate these processes through technology. This approach entails constructing a cognitive model that accurately reflects human levels of understanding as we currently comprehend them. To achieve this, we must transcend the legacy systems of the industrial age and embed decentralization into the core of whatever follows. This shift will be pivotal in defining the relationship between AGI and humanity and in distinguishing our identity from that of the machines we create.

Another approach focuses on the brain’s intricate functions, where scientists endeavor to create a complex, self-organizing, nonlinear dynamical network based on our existing knowledge of the human brain. By testing various responses to stimuli, researchers aim to gauge how near they are to achieving true consciousness.

SingularityNET’s ongoing efforts towards AGI are the culmination of years of dedicated research and experience. Currently, our platform hosts a diverse ecosystem of projects, each targeting distinct applications of AGI. One noteworthy project is the neural-symbolic language learning model (LLM) named Zarqa. This innovative tool has the potential to surpass traditional LLMs, such as ChatGPT, providing users with a glimpse of what is possible as we approach the reality of AGI; the positive applications and outcomes are boundless.

The Impact of AGI on Humanity

Understanding the distinctions between humans and AGI systems remains a challenge, primarily because we have yet to fully grasp the form that AGI will ultimately take. However, as research progresses, we are on the cusp of discovering how AGI and humans can collaborate effectively.

While the specifics of AGI’s impact remain to be fully defined, the potential benefits are already becoming clear. Consider the insights AGI could offer in addressing climate change or advancing research for cancer cures. For instance, Rejuve.Biotech is already making strides in implementing AI for lung cancer screenings, and AGI could elevate this work to unprecedented levels. A crucial aspect of this development is that AGI should remain in the hands of humanity as a whole, not controlled by any single individual or organization, ensuring that its benefits are accessible to everyone.

To truly harness the power of AGI, we must move beyond the centralized power structures of the industrial age and embrace decentralization at the core of future developments. This will play a significant role in shaping the essence of AGI and how we distinguish ourselves from the machines.

Ultimately, we are approaching a time when computers will surpass human intelligence, and this reality is arriving sooner than many experts anticipate. At SingularityNET, our mission is to ensure the safe development of AGI, aiming to enhance the quality of life for all. We believe that AGI has the potential to address many of our contemporary societal challenges, opening up limitless possibilities. I eagerly await the next steps in this remarkable journey.

Janet Adams is the Chief Operating Officer at SingularityNET.
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April 4, 2025
Tesla and Alphabet Report Disappointing Q2 Results Amidst Growing Market Challenges

Tesla Experiences Significant Decline in Stock Following Disappointing Q2 Results

Tesla shares plummeted more than 7% in after-hours trading on Tuesday after the company reported lackluster second-quarter results, continuing a troubling trend of declining electric vehicle (EV) sales. In a similar vein, Alphabet’s stock fell by 2% in extended trading due to underwhelming YouTube ad revenues. These two major tech earnings reports have contributed to a negative sentiment on Wall Street, with futures indicating a lower open on Wednesday. The pessimistic outlook is expected to reverberate through European markets, particularly as LVMH also failed to impress investors with its performance metrics.

Tesla Faces Growth Challenges in the Electric Vehicle Market

Tesla disclosed earnings per share of $0.52 (€0.48) on total revenue of $25.5 billion (€23.5 billion), falling short of the anticipated $0.62 and $24.6 billion estimates. Although the overall revenue exhibited a modest increase of 2% year-over-year, the core automotive sales segment experienced a 7% decline, marking the second consecutive quarter of downturn. The net income for the quarter stood at $1.8 billion (€1.66 billion), reflecting a staggering 42% decrease from the previous year.

Notably, Tesla benefited from a record regulatory credit revenue of $890 million (€820 million) in the second quarter, which contributed to a marginal 1% increase in gross profit compared to last year. Despite achieving a better-than-expected delivery figure of 443,956 EVs, this number represented a 4.8% decline year-over-year, extending the trend of decreased deliveries for two consecutive quarters. Price reductions and various incentives have further strained profit margins, with adjusted earnings margins slipping to 14.4%, down from 18.7% in the same quarter last year.

On a brighter note, Tesla’s energy generation and storage revenue doubled from last year, reaching $3 billion (€2.75 billion) in the second quarter. This suggests that Tesla is actively seeking new avenues for growth amid the slowdown in traditional automotive sales, which face increasing competition.

The company has postponed the unveiling of its highly anticipated Robotaxis from the originally scheduled date of August 8 to October 10. The Robotaxi is integral to Tesla’s broader strategy of developing fully autonomous vehicles utilizing Full Self-Driving (FSD) technology, positioning the company in the competitive AI landscape. CEO Elon Musk indicated that these AI-driven products, including Robotaxis and the Optimus humanoid robots, will be manufactured at the Austin facility. In April, Musk projected that Optimus would be capable of performing factory tasks by the end of 2024.

Looking ahead, Tesla anticipates a stronger quarter for car deliveries than in the second quarter and remains optimistic that the Cybertruck will start generating profits this year. Following the downturn on Tuesday, Tesla’s stock has declined by 10% year-to-date, as the EV manufacturer struggles to meet investor expectations regarding advancements in AI initiatives such as Robotaxi and humanoid robots, while EV sales continue to show a persistent decline.

Alphabet Surpasses Earnings Expectations but Falls Short on YouTube Advertising

Alphabet, the parent company of Google, reported total revenue of $84.74 billion (€78.12 billion) for the second quarter, reflecting a 14% increase from the previous year. Earnings per share reached $1.89 (€1.74), surpassing the expected $1.84 (€1.69).

The core business segment, Google Cloud, generated $10.35 billion (€9.54 billion) in revenue, a remarkable 28% increase quarter-over-quarter, and for the first time, surpassed the $10 billion (€9.18 billion) milestone. CEO Sundar Pichai remarked, “Our strong performance this quarter highlights ongoing strength in Search and momentum in Cloud.”

However, Google’s advertising revenue totaled $64.62 billion (€59.34 billion), marking an 11% year-over-year rise. Conversely, YouTube’s advertising revenue amounted to $8.66 billion (€7.98 billion), which, while up 13% from a year ago, fell short of the anticipated $8.95 billion (€8.22 billion). The company has set an ambitious target to achieve a combined annual run rate of over $100 billion (€91.83 billion) for Google Cloud and YouTube by the end of 2024, raising concerns about its ability to meet this goal.

Alphabet continues to invest heavily in AI development, with capital expenditures reaching $13.2 billion (€12.17 billion), exceeding the expected $12.2 billion (€11.2 billion). Chief Investment Officer Ruth Porat commented, “We’ve certainly seen the benefit of our strength in AI, AI infrastructure, as well as generative AI solutions for cloud customers.”

Additionally, the company’s self-driving car division, Waymo, reported revenue of $365 million (€336 billion) while incurring a loss of $1.13 billion (€1.04 billion) in the second quarter, which was higher than the expected loss of $1.07 billion (€980 million). Porat announced plans for a new multiyear investment of $5 billion (€4.6 billion) in Waymo during the earnings call on Tuesday.

In summary, Alphabet’s performance exceeded expectations but did not deliver the groundbreaking advancements in AI that investors were hoping for. Nevertheless, Alphabet remains one of the top performers among the Magnificent Seven stocks, with shares up 28% this year, largely driven by the AI boom.

April 4, 2025
Tesla’s Q2 Earnings Report: Challenges and Growth Opportunities

Tesla’s Upcoming Second-Quarter Earnings Report

Tesla is poised to release its second-quarter earnings report after the US markets close on July 23. Despite being down 4% year-to-date, shares of the world’s leading electric vehicle (EV) manufacturer have surged 71% since the company announced its first-quarter earnings in April. While automotive sales are anticipated to continue their slowdown, Tesla’s energy storage deployment experienced a remarkable surge in the first quarter. Investors are eagerly awaiting any positive developments regarding Tesla’s AI-driven Full Self-Driving (FSD) technology, the robotaxi initiative, and the Optimus robot services.

Forecast and Challenges

According to a recent survey conducted by Bloomberg, Tesla’s revenue for the second quarter is projected to decline compared to the same period last year, marking the third consecutive year-on-year decrease. The overall revenue is estimated to be around $24.6 billion, reflecting a 1% drop from the previous year. Earnings per share are expected to be $0.62, representing a significant 32% decline from the same quarter in the previous year.

In the second quarter, Tesla successfully delivered 443,956 EVs, exceeding Wall Street’s average estimate of 439,302 vehicles. However, this figure indicates a 4.8% decrease compared to the same quarter last year, following an 8.5% year-on-year drop in the first quarter. These consecutive declines represent the longest period of decreasing quarterly delivery numbers since 2012. In response to growth bottlenecks, Tesla has accelerated the mass production of its affordable EV, moving the timeline from the second half of 2025 to the first half.

The company faces significant challenges, including intense competition from rapidly growing Chinese EV manufacturers, particularly BYD, which has established itself as the best-selling brand in China. The ongoing price war among automakers has drastically reduced Tesla’s operating margin, which fell to 5.5% in the first quarter, down from 11.4% a year earlier. Notably, China represents Tesla’s second-largest market, contributing over 20% to its sales revenue. According to the China Passenger Car Association (PCA), Tesla’s shipments from its Shanghai facility dropped by 24.2% year-on-year in June, marking the fourth decline this year.

Additionally, an increased EU tariff on EV exports from China has further pressured Tesla’s sales in Europe. PCA data indicates that exports of China-made Tesla EVs to the EU have fallen to their lowest level since the third quarter of 2022. The EU is the largest export market for these vehicles, accounting for a 9.1% market share in Europe as of January, according to EV-volumes.com.

Exploring New Growth Opportunities

To sustain its high market valuation, Tesla must entice investors with emerging growth areas. CEO Elon Musk has indicated that the company’s energy storage business has gained momentum, with revenue in this segment increasing by 7% in the first quarter to an impressive $1.64 billion, alongside energy deployments reaching a record 4.1 GWh. Musk anticipates continued growth in this sector.

Moreover, the Robotaxi initiative is integral to Tesla’s broader strategy to develop fully autonomous vehicles utilizing FSD technology. Cathie Wood from Ark Investment Management has identified the autonomous taxi ecosystem as a potential “$8 trillion to $10 trillion global revenue opportunity,” with Tesla expected to capture half of that market share. She envisions that the autonomous taxi platform could amplify Tesla’s market valuation tenfold. However, the launch of Robotaxi has been delayed by approximately two months until October, which resulted in a dip in the company’s shares in mid-July.

On the technological front, Tesla’s AI training capacity has nearly doubled sequentially, reaching an all-time high. During the annual shareholder meeting, Musk expressed confidence in the company’s Optimus humanoid robots, predicting they would be capable of performing tasks in the factory by the end of 2024. He also asserted that the Optimus initiative could elevate Tesla’s market valuation to an astonishing $25 trillion. Additionally, Musk projected that the weekly output of the Cybertruck could reach 1,300 units.

April 4, 2025
Tesla’s Q2 Delivery Results Drive 10% Surge in Shares

Tesla Sees 10% Surge in Shares Amid Q2 Delivery Results

Tesla’s shares experienced a remarkable 10% increase on Tuesday, driven by car delivery figures for the second quarter that exceeded market expectations. This comes despite a second consecutive year-on-year decline in deliveries. While challenges such as declining demand and heightened competition have contributed to this slowdown, the production of more affordable models and growth in Tesla’s energy storage division may pave the way for future expansion.

Q2 EV Deliveries: Better Than Anticipated

Tesla reported delivering 443,956 electric vehicles (EVs) during the second quarter, surpassing the Wall Street consensus estimate of 439,302. However, this figure marks a 4.8% decline compared to the same quarter in the previous year, following an 8.5% decline in Q1. This consecutive drop represents the longest stretch of quarterly delivery declines since 2012.

Furthermore, the Austin-based automaker produced 410,831 vehicles in the same period, reflecting a 14% decrease from last year, following a 12.5% drop in Q1. Tesla attributed these production challenges to a factory shutdown in Germany caused by an arson incident and supply chain disruptions stemming from the Red Sea riots in the first quarter. However, details surrounding the decline in the second quarter were not provided.

Nevertheless, the better-than-expected delivery numbers have lessened fears that Tesla, the world’s leading EV manufacturer, could lose its position to its Chinese rival, BYD, which reported record car delivery figures just a day prior. BYD announced it sold 426,000 pure electric vehicles, significantly narrowing the gap between the two companies. Notably, BYD overtook Tesla in car deliveries and became the largest EV seller in the final quarter of 2023.

Navigating the Challenges of Fierce Competition in China

China represents Tesla’s second-largest market, accounting for more than 20% of its total sales revenue. However, increasing competition from local manufacturers and a slowing Chinese economy have posed challenges to Tesla’s growth trajectory. According to the China Passenger Car Association (PCA), Tesla’s shipments from its Shanghai factory fell by 24.2% year-on-year in June, marking the fourth decline observed this year. Meanwhile, government subsidies in China are encouraging a consumer shift toward new energy vehicles (NEVs), with PCA data suggesting a projected growth of 28% in NEV sales year on year for June.

Despite implementing price reductions throughout 2023, Tesla has seen its market share in the high-end segment eroded as consumers increasingly gravitate toward more affordable EVs and hybrid options offered by competitors, particularly BYD. Additionally, Tesla’s limited model variety has hindered its competitiveness compared to its Chinese counterparts, which continuously introduce new models to cater to local market demands and invest in technological upgrades to decrease production costs. BYD’s pure EV sales rose by 13% year on year in Q2, while other competitors like Geely reported a 41% increase in sales during the first half of 2024.

Tesla Maintains Title as the World’s Most Valuable EV Maker

Despite the challenges, Tesla retains its status as the world’s largest EV manufacturer, boasting a market capitalization of $734.25 billion (€683.54 billion) as of the market close on Tuesday. While its shares have dipped by 7.5% this year, they have rebounded impressively, soaring by 65% since the first quarter earnings report. Investors remain optimistic regarding Tesla’s prospects, particularly its plans to expedite the launch of affordable EVs, with CEO Elon Musk announcing a shift in the timeline for mass production to the first half of 2025 instead of the latter half.

In April, Tesla revealed plans to reduce its global workforce by more than 10% as part of a strategy to navigate a growth slowdown and an intensifying price war in the EV sector. Meanwhile, Tesla’s energy storage business has shown promising growth, with revenues increasing by 7% in Q1, reaching a record high of $1.64 billion (€1.53 billion), and energy deployments hitting an impressive 4.1 GWh. Musk anticipates continued growth in this division.

Additionally, Tesla’s AI training capacity has nearly doubled, reaching an all-time high. During the annual shareholder meeting, Musk expressed confidence that the company’s Optimus humanoid robots could significantly enhance Tesla’s market valuation, potentially reaching $25 trillion (€23.27 trillion). He also projected that weekly production of Cybertrucks could escalate to 1,300 units.

April 4, 2025
Theatrical Adaptation of ‘The Minority Report’ and the Rise of Sci-Fi in Theatre
Theatrical Adaptation of ‘The Minority Report’ Hits the UK Stage

A fresh adaptation of Philip K. Dick’s influential novella, The Minority Report, is set to tour UK theatres, with performances at London’s Lyric Hammersmith commencing on 20 April. This production marks a part of a burgeoning trend of science-fiction adaptations making their way into theatrical spaces, a genre that has traditionally faced challenges in translation from page and screen to stage.

Originally launched at the Nottingham Playhouse earlier this year, this adaptation draws from the 1956 novella that has seen various interpretations, most famously in the form of the 2002 Steven Spielberg film starring Tom Cruise. The theatrical rendition, which will also be showcased at the Birmingham Rep before moving to the Lyric, closely follows the narrative established in both the novella and the film. Under the direction of Max Webster, known for his acclaimed stage adaptation of Life of Pi, and scripted by David Haig, this version introduces a gender-swapped protagonist, the neuroscientist Dame Julia Anderton (portrayed by Jodie McNee), who finds herself accused of premeditated murder by the very predictive crime program she developed.

For those who have experienced the cinematic grandeur of Spielberg’s film or are familiar with Dick’s intricately layered sci-fi worlds, it may seem nearly impossible to encapsulate such visual feats within the more intimate confines of a theatre stage.

Theatre often thrives by engaging the audience’s imagination, allowing for a fluid navigation of spatio-temporal boundaries that might perplex a film viewer grappling with plot inconsistencies. This observation is not a critique of film but rather highlights how cinema’s vastly superior budgets and technical capabilities permit a realistic portrayal of concepts, while theatre’s limitations encourage a reliance on impressionism and abstraction.

However, recent theatrical undertakings are challenging these norms, as a wave of ambitious, high-budget productions redefines audience expectations in the sci-fi genre. The Minority Report is merely the latest installment in this evolving narrative.

Emergence of Sci-Fi Adaptations in Theatre

Late last year, the debut production at Factory International in Manchester’s newly inaugurated Aviva Studios—the largest UK investment in a cultural project since the Tate Modern’s opening in 2000—was Free Your Mind, an interactive dance adaptation of The Matrix directed by the legendary Danny Boyle. This hip-hop reimagining of the iconic 90s sci-fi film featured elaborate set pieces, creating a vivid tableau that interwove the original film’s themes with contemporary Manchester.

With the grand scale that Boyle famously showcased during the 2012 London Olympics opening ceremony, Free Your Mind stood out in its new €282 million (£242 million) venue, setting a high bar for future adaptations.

In London’s illustrious West End, other bold adaptations of sci-fi works that once seemed daunting for production designers have emerged. One notable example is the musical adaptation of Back to the Future, which made its West End debut in 2021 after several delays. While this musicalization of established intellectual property reflects a broader trend in the West End to lean toward safer, more familiar ideas (such as adaptations of Frozen, Mrs. Doubtfire, and Mean Girls), the production team managed to integrate an actual DeLorean that drives around on stage and even takes flight, leaving audiences in awe. However, despite its impressive car-centric spectacles, the musical itself received lukewarm reviews.

More recently, the play Stranger Things: The First Shadow, a prequel to the Netflix phenomenon, emerged from the creative minds of Kate Trefry, Jack Thorne, and the Duffer Brothers, with direction by Stephen Daldry. Initial anticipation for this production was low, as it was perceived as a potential cash grab amidst a sea of uninspired adaptations in top-tier UK theatre. Contrary to expectations, Stranger Things: The First Shadow has proven to be a technical marvel, showcasing some of the most impressive staging ever witnessed, brilliantly translating the sci-fi horror elements of the original series to a theatrical format.

The Rich Legacy of Sci-Fi in Theatre

This emerging trend of adapting popular sci-fi media for the stage appears poised to flourish as directors and producers continue to push the boundaries of special effects and stagecraft. However, the relationship between science fiction and theatre is not a recent phenomenon; it boasts a long and illustrious history.
- One of the earliest examples of a sci-fi play is Presumption; or, the Fate of Frankenstein, penned by Richard Brinsley Peake and first performed in 1823. This adaptation was based on Mary Shelley’s groundbreaking 1818 horror novel and introduced Victor Frankenstein’s assistant, Fritz, who is now frequently referred to as Igor.
- Another notable early work is Posle milijon godina (After a Million Years), written by Serbian playwright Dragutin Ilić in 1889, which is often credited as one of the first examples of sci-fi in theatrical form.
- The genre truly exploded in the 20th century with Karel Čapek’s play R.U.R., also known as Rossumovi Univerzální Roboti (Rossum’s Universal Robots), which is famously credited with popularizing the term “robot” in the English lexicon. In this play, a factory produces artificial workers from synthetic organic materials, labeling them robots, derived from the Slavic term for “work” or “labor.” Čapek attributed the invention of the term for these artificial beings to his brother, the painter and writer Josef Čapek.
April 4, 2025
The Enduring Magic of Holiday On Ice’s ‘Aurore’ Show
The Enduring Magic of Ice Shows

Often caricatured in popular culture as mere entertainment for children or Disney enthusiasts, ice skating shows have historically not been regarded as emblematic of high art. However, while other companies like Ice Capades in the United States have shuttered their doors, Holiday On Ice has thrived for an impressive 80 years, captivating over 330 million spectators with more than 60,000 performances across five continents. The producer of their latest touring spectacle in France, Olivier Genest, asserts that such remarkable longevity is no mere coincidence.

“It’s the longest-running touring show in the world,” Genest emphasized. “That doesn’t happen by accident.” Currently celebrating its 80th anniversary, Holiday On Ice’s newest show, Aurore (A New Day), is traversing the landscapes of France. Genest shared with Euronews Culture that those who dismiss ice shows as outdated would do well to reconsider their assumptions.

“Many people tell us that Holiday On Ice is old-fashioned or fading away,” Genest noted. “But once you’ve experienced the show, you’ll realize that’s simply not the case. Our ability to adapt to new technologies, as well as to innovate in skating and production techniques, has been key to our success.”

A Modern Take on the Traditional Ice Show

Aurore unfolds the narrative of a humanoid being from an alternate dimension, where inhabitants don monochrome silk pajamas and move in a mechanical, emotionless manner, devoid of love and feelings. Aurore, yearning for something more, escapes this colorless existence, embarking on a journey through time and space until she reaches Earth, where she encounters a young human named Adam. He introduces her to the vibrant beauty of humanity.

Gabriel St-Jean, who portrays Adam, remarked, “We have always presented shows centered around escape, but I believe Director Francisco Negrin wanted to emphasize the splendor of what we possess in our world.” He added, “After the isolation brought on by Covid, it’s refreshing to celebrate the beauty of being human and everything that surrounds us, as we momentarily lost sight of it.”

The show, directed by the acclaimed stage director Francisco Negrin, known for his innovative opera productions, infuses a contemporary flair into the classic ice performance. Aurore artfully combines elements of theater, acrobatics, technical figure skating, extravagant set designs, and intricately crafted costumes. The show oscillates between dramatic moments, emotional resonance, and sheer campiness, offering a unique viewing experience.
- The opening Rococo rock opera sequence dazzles with tall, neon-colored powdered wigs, petticoats, and tailcoats, while a performer humorously dons a rubber Albert Einstein mask.
- One segment features performers in whimsical animal costumes, including an unfortunate snake clad in what appears to be a black gimp suit.
- The magnificent finale before intermission showcases a towering sun god character, measuring five meters high, who requires the assistance of several performers to be rolled across the ice. This scene culminates with the ice being literally set ablaze.
The eclectic and vibrant style of Aurore sometimes evokes the feel of a variety show, which may divide audiences accustomed to traditional performances. At the Paris premiere, French Olympic bronze medalist and veteran Holiday On Ice performer Philippe Candeloro expressed some uncertainty regarding the abstract storyline. “The technique and scenery were exceptional, as one would expect from Holiday On Ice,” he shared with Euronews Culture after the show. “I adored the lighting, but the narrative was a bit complex to follow without prior knowledge. Additionally, there were numerous musical interludes that might not resonate with die-hard fans of the show.”

A Spectacle of Athleticism and Artistry

Beyond the theatrical elements, Aurore serves as a stunning exhibition of high-caliber figure skating. The athleticism displayed is nothing short of breathtaking, with skaters executing intricate lifts and jumps just inches above the solid ice. Most performers hail from the competitive figure skating circuit, merging technical prowess with dramatic flair.

Gabriel St-Jean, a principal skater, shared, “I’ve been part of this show for a year and a half, and it remains the most physically demanding and impressive production I’ve ever participated in.” He continued, “The blend of theater and acrobatics is spectacular. There are things you can’t achieve in competition that you’re able to explore in the realm of performance. Conversely, some competitive techniques are left behind in favor of aesthetics.”

St-Jean mentioned that his solo in Aurore is among the most challenging routines he has ever tackled. “I am definitely feeling the strain,” he joked. “But the moment you finish and hear the applause, and see the audience genuinely appreciating the effort put into the show, it’s incredibly rewarding.”

Holiday On Ice also shines a spotlight on craftsmanship, uniting specialists from various fields. For Aurore, a talented team of artisans meticulously crafted 350 unique costumes by hand, many featuring velcro for swift changes, and created hundreds of wigs to enhance the visual storytelling.

Genest explained that the crew manages the logistical challenge of installing 38 tonnes of equipment in every new venue, which includes three suspension systems, pyrotechnics, and a sophisticated light installation composed of numerous screens. “We dismantle the rink in city A while en route to city B, where we reassemble the second rink to ensure it’s ready before our arrival,” he elaborated. “It takes three days to install and requires a substantial number of staff, many of whom we hire locally.”

Performing in diverse venues means that, unlike traditional theater productions, the performers must constantly adjust to varying stage sizes. The cast and crew of Aurore is a melting pot of talent, with more than 18 different countries represented among the 80 dedicated staff members, which includes 40 performers, 30 technicians, and 10 administrators. Together, they collaborate to deliver a show that encapsulates eight decades of entertainment expertise.

“Even if you’re not a fervent admirer of figure skating, I believe you’ll be impressed,” St-Jean stated. “It’s not merely a figure skating show; there are so many additional elements that contribute to creating this unforgettable experience.”

Holiday On Ice’s show “Aurore (A New Day)” is touring in cities across France until April 28.
April 4, 2025