Core Insights - The article discusses the launch of FHIBE, the world's first publicly available, globally diverse dataset based on user consent, aimed at assessing fairness in human-centric computer vision tasks [2][5][17] - FHIBE addresses ethical issues in data collection for AI, such as unauthorized use, lack of diversity, and social biases, which have been prevalent in existing datasets [2][6][17] Dataset Overview - FHIBE includes 10,318 images from 81 countries, representing 1,981 independent individuals, covering a wide range of visual tasks from facial recognition to visual question answering [2][6] - The dataset features comprehensive annotation information, including demographic characteristics, physical attributes, environmental factors, and pixel-level annotations, enabling detailed bias diagnostics [3][7] Ethical Considerations - The data collection process adhered to ethical standards, including compliance with GDPR, ensuring informed consent from participants regarding the use of their biometric data for AI fairness research [10][17] - Participants provided self-reported information such as age, pronouns, ancestry, and skin color, creating 1,234 cross-group combinations to enhance diversity [6][11] Methodological Rigor - FHIBE is designed specifically for bias assessment, ensuring it is used solely for measuring fairness rather than reinforcing biases [11][17] - The dataset allows for systematic testing of various mainstream models across eight computer vision tasks, revealing significant disparities in accuracy based on demographic factors [11][12] Findings and Implications - The research identified previously unrecognized biases, such as lower recognition accuracy for older individuals and women, highlighting the need for improved model performance across diverse demographics [13][15] - FHIBE serves as a pivotal tool for promoting responsible AI development and aims to pave the way for ethical data collection practices in the future [17][18]

该论文介绍，计算机视觉广泛应用于自动驾驶车辆到面部识别技术等领域。许多计算机视觉使用的AI 模型，其训练数据存在缺陷，可能未经同意收集，经常来自网络大规模图像抓取。人们也已发现，AI 模型可能会反映出延续性别歧视、种族歧视或其他刻板印象的偏见。 在本项研究中，索尼AI团队构建了一个图像数据集，在同意机制、多样性和隐私等多方面努力采取最 佳实践：FHIBE包含81个国家或地区中1981个个体的10318张图像，该数据库涵盖人口统计和生理特征 的全面标注，包括年龄、代词类别、祖先血统、发色与肤色等；参与者获得关于项目和潜在风险的详细 信息，帮助他们做出知情同意，过程符合全面数据保护法规。这些特征使该数据库成为评估AI偏见的 可靠资源。 研究团队将FHIBE和27个现有以人类为中心的计算机视觉应用数据集进行比较，发现FHIBE数据集在多 样性与AI评估的可靠同意方面标准更高，同时还有效减少了偏见，它包含的参与者自我申报标注信息 超过其他数据集，还包括了相当比例通常代表性不足的人群。 本项研究的相关图像数据(图片来自论文)。施普林格·自然 供图 国际最新研究构建超万张人类图像数据库 评估人工智能视觉偏见 中新网北京1 ...

但如今，Peter Supino对索尼的增长前景更有信心了。他指出，索尼在游戏、动漫和音乐领域构成了"三 重威胁"，其游戏和音乐业务在不断扩张的市场中拥有"强大的地位"。分析师表示："虽然索尼的综合企 业结构令一些投资者望而却步，但我们有充分的证据表明，索尼将继续增长，提高运营效率，并在配置 资本时优先考虑每股股权价值。" （原标题：索尼(SONY.US)增长前景强劲引Wolfe Research"空翻多"!绩前喊出华尔街最高目标价） 索尼将于11月14日公布截至9月的2025财年第二财季业绩。Peter Supino表示，他此前对索尼包括游戏机 和电子产品在内的消费品面临美国关税的担忧已经改变。他表示："我们已经看到索尼在很大程度上控 制了利润面临的风险和影响。" 据悉，Peter Supino在4月出特朗普宣布对贸易伙伴大规模加征关税后不久将其对索尼的评级下调至"与 同业表现同步(peer perform)"。这次评级下调导致索尼股价当时大跌。分析师当时表示，这些关税推高 成本，而消费者信心减弱对那些最容易受到可自由支配支出影响的公司构成了"真正的风险"。他还表 示，索尼的利润增长前景"充满风险"。 智通 ...

Wolfe Research’s Peter Supino has emerged as the biggest bull on Sony, seven months after President Trump’s rollout of sweeping tariffs caused the analyst to downgrade the Japanese entertainment and electronics company https://t.co/YwtMGwXrXl ...

Television advertising volume in India fell 10% year-on-year in the first nine months of 2025, according to TAM AdEx data. The decline reflects a broader slowdown in the advertising market, with fast-moving consumer goods (FMCG) companies, the biggest spenders on television, cutting back on budgets owing to muted consumer demand, according to industry executives.Even with reduced spending, FMCG and household product categories continued to dominate TV ad volume, reinforcing television's role as a mass reach ...

Core Insights - The Saudi Film Commission has launched a state-of-the-art virtual production soundstage at JAX Film Studios in Riyadh, marking a significant advancement in the Kingdom's film production capabilities [2][4] - The facility is designed by Pixomondo and utilizes Sony's VERONA LED technology, aiming to create a world-class film production ecosystem in Saudi Arabia [2][5] Group 1: Facility Features - The new virtual production volume is fully operational and can support demanding global film and television productions [3] - JAX Film Studios includes two 1,500-square-meter soundstages, a VIP lounge, a cinema screening room, production offices, and fully equipped prep spaces, providing an all-inclusive environment for filmmakers [3] Group 2: Strategic Importance - Abdullah Al-Qahtani, CEO of the Saudi Film Commission, emphasized that the investment in virtual production infrastructure is crucial for building a competitive film industry in Saudi Arabia [4] - The collaboration with Pixomondo and Sony is expected to enhance the creative capabilities of filmmakers, positioning Riyadh as a regional hub for virtual production [5][7] Group 3: Technical Specifications - The facility features 2,720 Sony VERONA Crystal LED panels with 2.3mm pixel pitch technology, a volume of 23 meters in diameter, 27.5 meters in depth, and 10 meters in height [6] - It supports seamless integration of camera tracking, real-time rendering, and in-camera VFX workflows, enabling high-resolution, photorealistic environments suitable for major Hollywood productions [6] Group 4: Location and Ecosystem - JAX Studios is located in the JAX District of Diriyah, close to five-star hotels and King Khalid International Airport, contributing to an expanding ecosystem of creative talent and production services [7] - This strategic location reinforces Saudi Arabia's vision of becoming a global hub for filmmaking and technological innovation [7]

Meet the 100-Pound Grandfather of Modern Video ProductionMike Meyerson4 min read·Just nowJust now--NOTE: This article was originally published in FEELING CREATIVE? — please visit for more guest posted creative content.Every now and then you see a piece of vintage gear that just stops you in your tracks. For me, it’s this retro machine. It looks like something out of a 1950’s sci-fi movie like (“Forbidden Planet” comes to mind). So I did a little digging, and the real story is even cooler. This is the Ampex ...

Core Viewpoint - Sony Israel will operate independently as Altair Semiconductor, marking a strategic shift to focus on the 5G IoT chip market, with plans for organizational restructuring and layoffs to enhance efficiency [2][3]. Group 1: Company Structure and Strategy - The decision for Sony Israel to become an independent entity was made jointly by Sony Semiconductor Israel and Sony Group's headquarters in Japan [2]. - The restructuring aims to ensure long-term sustainability and operational agility, with the expectation of laying off dozens of employees [2][3]. - Sony will remain a major investor in the new independent company, reaffirming its commitment to the 5G IoT market [2]. Group 2: Historical Context and Development - Sony acquired Altair Semiconductor in 2016 for approximately $212 million, integrating it into its semiconductor division [2]. - The recent management decision to refocus on core strategic areas led to the separation, allowing Altair to concentrate on 5G IoT connectivity [2][3]. - Since the acquisition, Altair has expanded its customer base and launched initiatives like logistics chain digitization, even incubating a spin-off company named Sensos [3]. Group 3: Technological Capabilities - The Israeli R&D center specializes in developing low-power cellular network chips for IoT applications, emphasizing ultra-low power consumption, compact size, and robust security features [4]. - The team has developed digital signal processors (DSPs) that integrate AI directly into sensors, along with complete modem and system-on-chip (SoC) solutions [4].

Core Insights - The article discusses the concept of "intellectual cannibalism," where the shift towards digital ownership has led to a culture of temporary access rather than true ownership [1][14] - It highlights the consequences of this shift, including the loss of permanence in cultural artifacts and the commodification of access to content [2][12] Group 1: Digital Ownership and Access - The current model of ownership is characterized by rental agreements rather than true possession, leading to a situation where users pay for access rather than ownership [3][13] - The convenience of digital access is contrasted with the nostalgia for physical ownership, as users now curate rather than collect [10][5] - The article notes that this trend is not new, with historical precedents of digital content being removed without warning, such as Amazon's removal of books from Kindles in 2009 [6][4] Group 2: Cultural Implications - The article argues that the economy of digital access leads to a faster consumption of culture than its creation, resulting in a loss of cultural heritage [8][14] - It emphasizes that the design of digital platforms encourages dependency, with features like auto-play and endless scrolling erasing the boundaries of choice [11][10] - The result is a culture where memories and identities are constructed from content that cannot be retained, leading to a sense of grief over lost access [12][13]

Core Viewpoint - The article discusses the author's decision to replace a smartphone with a Sony Ericsson C902, highlighting the benefits of using a simpler phone without distractions from social media and apps [1][4]. Group 1: Phone Usage and Evolution - The Sony Ericsson C902 is a phone from 2009 that offers basic functionalities such as texting, calling, and limited internet access via 3G [1]. - The concept of smartphones is relatively new, having been around for only 15 years, while traditional phones have existed since 1876 [4]. - The author argues that society has lived well without smartphones and may even be better off without them, suggesting a disconnect between modern reliance on technology and historical phone usage [4][5]. Group 2: Social Attachment to Technology - There is a strong societal attachment to smartphones, making it difficult for many to understand how someone could live without them [5].