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Romeo and Juliet remixed: how technology can change storytelling | Stage

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On Sunday, as part of the Sydney Opera House’s UnWrapped series, a group of dancers “remixed” Shakespeare’s Romeo and Juliet by way of an Australian storytelling technology, Omelia. A product built to shuffle characters and events and generate narrative possibilities in real time, dancers using it brought a new version of the classic tragedy to life. The one-off production, R+J RMX, was filmed for the Opera House’s streaming platform.

The “remix” was interactive: audience members were sent to a website where they could restructure the play with the touch of a button, while on stage narrators and dancers ran through numerous renditions of the story.

The works of Shakespeare, surely more than those of any other writer, have been subject to interminable reworkings, as if we are at once infinitely fascinated and infinitely dissatisfied with the source material. So how does technology alter this process?

R+J RMX, a “remixed” version of Romeo and Juliet, is performed at the Sydney Opera House.
As we speak, dancers are imagining how they might respond to various scenarios, but they won’t know what awaits them until the night itself unfolds. Photograph: Prudence Upton

The show’s creators frequently explain Omelia by way of simile: it’s like a choreographer, assistant, dramaturg, collaborator.

Prior to performance night, Kate Armstrong-Smith, Omelia’s CEO and a producer of R+J RMX, attempts to explain by pulling a pen – the classic storytelling technology – from her pocket.

“None of this is possible without this tool,” she tells Guardian Australia, gesturing with the pen to the high-ceilinged rehearsal space in which dancers contort their bodies, grasping one another, evaluating their movements in long mirrors. A pen with serious accoutrements, Omelia is pitched as a tool not to generate the ideas, but to shape them; not to displace writers, but to facilitate them.

On the wall, colourful A4 sheets map out key story beats. Armstrong-Smith uses this analogue plan to explain the digital tech. If, she says, halfway through the show a character dies, Omelia will reorganise the remaining narrative to account for the death. Relationships and tensions will shift, inciting new actions and dramatic beats. As we speak, dancers are imagining how they might respond to various scenarios, but they won’t know what awaits them until the night itself unfolds.

Although the event is billed as using artificial intelligence, Joseph Couch, Omelia’s owner, says his technology is not, in fact, AI. It has no learning capabilities, and does not endeavour to mimic human thought. Nor is it in danger of turning against its creators. “It’s a smart system,” he says. Later, he calls it a “narrative ideation tool”. Essentially, it’s an operating system into which you input characters, relationships, and actions, and it presents you with a coherent dramatic narrative.

Couch and Armstrong-Smith have backgrounds in theatre and film. Couch has directed for Sydney Theatre Company; Armstrong-Smith has worked with arts festivals across Australia. Their vision for Omelia is that it will prioritise a storyteller’s values.

R+J RMX, a “remixed” version of Romeo and Juliet, at the Sydney Opera House in May 2021.
It’s both unsettling and compelling to see the creative process so formally charted. Photograph: Prudence Upton

Couch, projecting the exhausted but shimmering energy of someone who has both their money and creative vision on the line, becomes fiercely passionate when describing Omelia’s philosophical underpinnings. He imagines it pushing writers to depart from the individualistic archetypes that have come to dominate popular forms of storytelling, and instead prompting them to see narrative as a social model. As society becomes increasingly complex, Couch believes, it demands similarly complex story-telling systems.

“Where is the corporation in the hero’s journey?” he asks, referring to the oft-referenced storytelling template popularised by Joseph Campbell, and what he sees as its lack of sophistication, its incapacity to describe our world. “Where is the internet?”

Omelia, Couch says, “allows writers to conceive of unique plot shapes that are both novel and resonant, deeply derived from society, and dramatically sound.”

Omelia is still in its early stages, but I’m shown a proof-of-concept visualisation of The Godfather that models the operating system’s logic. The tollbooth assassination scene plays in one window while, alongside it, dots signifying characters with linking lines representing their relationships to each other emerge, shift, vanish.

It’s both unsettling and compelling to see the creative process, which is usually shrouded in a certain amount of mystery, so formally charted like this.

Is such tech necessary? It’s perpetually tempting to consider traditional creative methods inadequate, letting the newer and shinier tools distract us from the goals they’re meant to allow us to achieve. Omelia, however, doesn’t render the artist or the creative process obsolete.

Stuart Buchanan, head of digital programming at the Opera House, has worked with the Omelia team over the past year to develop the show, and is excited by the potential.

“The hand of the artist is still essential to get an interesting and coherent outcome,” he says. “Whilst it might sound somewhat iconoclastic to be remixing Shakespeare, instead what it shows is something that provokes a lot of thought as to how we might leverage and embrace technology for different kinds of art and creative ends.”

R+J RMX’s choreographer Larissa McGowan and dancer Harrison Elliott are particularly fond of how Omelia streamlines the creative process.

“You could try many different ways to create movement for a scene or a moment,” McGowan says, “but it’s simplified because you can test them faster. You’re not having to come up with all the possibilities.”

As a performer, Elliott appreciates how the technology maps the narrative on all levels: “While we can change the whole narrative, in changing one section you also have all these other choices for how you would murder someone, forgive someone, and doing that physically is quite interesting because it’s really specific.”

Couch and Armstrong-Smith wonder whether it’s possible for R+J RMX to fail, or what failure would look like. They’re balancing desires to entertain an audience, and to demonstrate Omelia’s potential.

The irony is that the night’s most compelling questions return us to Shakespeare’s original iteration. How many changes would be required before we’d say that the story is no longer Shakespeare’s? If the play is to remain a tragedy, is there any conclusion that does not include the death of the protagonists, regardless of the path Omelia takes to get there?

R+J RMX, a “remixed” version of Romeo and Juliet, is performed at the Sydney Opera House.
Omelia’s creator’s vision is that his technology will prioritise a storyteller’s values. Photograph: Prudence Upton

Post-Covid, live performance is seeking new ways to engage audiences and the Opera House describes R+J RMX as “disruptive”. But the technological disruption is not as interesting as is the showcasing of a form that highlights and makes new our endless obsession with story – our need, as society changes, to find fresh ways to mirror, encapsulate and describe that society. Who knows if this impulse will lead us to new stories, or simply to new ways of retelling old ones?

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Brace for a shock: cost-of-living crisis drives up price of electric car charging | Electric, hybrid and low-emission cars

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While petrol price rises may have made the headlines, the energy crisis has also been hitting owners of electric cars in the pocket. The cost of charging at home has risen by 43% for some drivers, while the already higher cost of on-the-road recharges has gone up 25%.

As energy prices are forced up due to rising costs for suppliers, specialist charging deals for drivers have become more scarce. And now there are suggestions that people may put off the purchase of an electric car as the cost-of-living crisis takes hold.

Although demand for vehicles is high, a new report to be released this week from Volkswagen Financial Services suggests that fewer people might commit to buying electric vehicles (EVs) as belts tighten and the cost of energy increases.

“The cost-of-living squeeze will probably mean some potential EV purchasers may not commit to a switch this year, particularly as such vehicles are perceived to be more expensive in relative terms when compared to combustion engine alternatives,” says the report.

Home charging

Electric car owners who are charging their vehicle at home will usually find the most cost-efficient option is one of the specialist tariffs on offer. “Two-rate” tariffs offer one price for electricity used during the day and another for night-time use. When prices are much lower you can top up your battery cheaply.

For example, comparison site Love My EV lists the rates for EDF’s GoElectric 35 as 44.69p per kilowatt hour (p/kWh) during the day and 4.5p/kWh at night. The Octopus Go tariff costs 35.04p/kWh during the day and 7.5p/kWh at night. Both figures are based on supplying a home in south Wales.

Three electric cars charging at a roadside station with an attractive yellow zig-zag canopy sheltering the chargers
A public charging station in Sunderland: many electric vehicle owners cannot charge at home and must pay on-the-road rates. Photograph: Christopher Thomond/The Guardian

Since energy prices have increased, the number of specialist deals on the market has dropped, says Laura Thomson, co-founder of Love My EV. While they are usually the best deals for drivers who charge overnight, the day rate and standing charge can be expensive, which consumers need to take into account when working out what is best for their situation.

“For most people who have an EV to charge at home, it does make sense, but there is a high standing charge and a high day rate to factor in,” says Thomson. If you use a lot of electricity during the day, this may not be your best option.

The site has a comparison tool for tariffs. Beware of promises of “free miles” within tariffs as these savings may be outweighed by higher charges, it says.

The rising price of EV tariffs means drivers now face paying 43% more than a year ago. This amounts to a rise of about £75 a year for an average vehicle such as a Nissan Leaf or a Renault Zoe, says Ben Nelmes of transport research company New AutoMotive.

In 2021, the cost of recharging an EV that covered 7,400 miles a year – the average mileage – and was recharged mostly at night was £174. This was based on an overnight rate of 4p/kWh and a day rate of 18p/kWh. By last month, this same charging practice cost £249 a year, based on the best prices then available – 5p/kWh at night and 28p/kWh during the day.

“Someone driving a bigger EV, such as a Kia e-Niro or Tesla, will find that this underestimates what they’ll be paying. Similarly, someone in a Smart car will find they spend a bit less than this,” says Nelmes.

On the road

Rising costs have also become apparent at public chargers. Instavolt, which operates a charging network across Britain, has increased its prices twice so far this year, first from 45p/kWh to 50p/kWh and then to 57p/kWh. Ubitricity, one of London’s largest charging networks, increased prices from 24p/kWh to 32p/kWh last month.

Data company Zap Map, which maps public charge points, found that, on average, charging costs increased from 24p/kWh in December to 30p/kWh in February for slow and fast chargers, and from 35p/kWh to 44p/kWh for rapid and ultra-rapid chargers.

“The price of charging your EV on the public network, or at home, has risen substantially over the past few months with the general increase in electricity prices,” says Melanie Shufflebotham from Zap Map.

There are 460,000 EVs currently in the UK, according to the Volkswagen Financial Service report, and just 300,000 home charger points installed. Those who don’t have a home charger end up paying more, according to Keith Brown of Paythru, a payments technology company. “One of the big inequities of the emerging EV charging market is the price ‘premium’ electric vehicle drivers pay if they don’t or can’t have a home charge point,” he says. “Domestic supply is taxed at a VAT rate of 5% whereas public charge-point supply is taxed at a VAT rate of 20%.”

Shufflebotham has called for the rates to be made equal. “Equalising the VAT rate for both public and home charging would be a great example of levelling up, and encourage more people to make the transition to electric vehicles,” she says.

The advantages

Despite increasing prices, EV drivers still face much lower bills than those with petrol or diesel cars, using figures based on the same annual mileage for all types of vehicle.

Nelmes says that while the rises in the costs of EV charging at home are high, they are dwarfed by the costs of filling a car with fuel.

“We estimate the average UK motorist would spend £1,028 per year on petrol and £987 per year on diesel. That’s up from £796 a year on petrol and £747 a year on diesel a year ago,” he says. “That means that the fuel cost savings available to petrol and diesel drivers who switch to EVs this year are £779 for petrol drivers and £738 for diesel drivers.”

Case study: positives and negatives

Having bought a Nissan Leaf in the last few weeks, Philip Ingram looks back at the deals that were available last year with some annoyance.

He currently pays a flat rate throughout the day of 28.45p/kWh with British Gas, the best tariff available to him at home in Bordon, Hampshire. Last year, he could have taken advantage of deals of 5p/kWh overnight, he says. While there are deals with good night-time rates, now their high day rates mean they do not suit the family budget.

The annoyance is tempered by the savings from moving from a diesel VW Golf to an EV.

Ingram, who runs a cotton company called LittleLeaf Organic, used to pay nearly £90 to fill up with diesel but gets the same mileage for £20 of charging. This has to be balanced against the cost of the car: £24,000. “I wish we had done it a long time ago,” he says, “but the reason that we have been slower is … capital costs. Several times I have said to [my wife] Lisa the running costs are unbelievable, but then you look at the cost of buying this car, [which] is enormous.”

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Web ad firms scrape email addresses before you know it • The Register

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Tracking, marketing, and analytics firms have been exfiltrating the email addresses of internet users from web forms prior to submission and without user consent, according to security researchers.

Some of these firms are said to have also inadvertently grabbed passwords from these forms.

In a research paper scheduled to appear at the Usenix ’22 security conference later this year, authors Asuman Senol (imec-COSIC, KU Leuven), Gunes Acar (Radboud University), Mathias Humbert (University of Lausanne) and Frederik Zuiderveen Borgesius, (Radboud University) describe how they measured data handling in web forms on the top 100,000 websites, as ranked by research site Tranco.

The boffins created their own software to measure email and password data gathering from web forms – structured web input boxes through which site visitors can enter data and submit it to a local or remote application.

Providing information through a web form by pressing the submit button generally indicates the user has consented to provide that information for a specific purpose. But web pages, because they run JavaScript code, can be programmed to respond to events prior to a user pressing a form’s submit button.

And many companies involved in data gathering and advertising appear to believe that they’re entitled to grab the information website visitors enter into forms with scripts before the submit button has been pressed.

“Our analyses show that users’ email addresses are exfiltrated to tracking, marketing and analytics domains before form submission and without giving consent on 1,844 websites in the EU crawl and 2,950 websites in the US crawl,” the researchers state in their paper, noting that the addresses may be unencoded, encoded, compressed, or hashed depending on the vendor involved.

Most of the email addresses grabbed were sent to known tracking domains, though the boffins say they identified 41 tracking domains that are not found on any of the popular blocklists.

“Furthermore, we find incidental password collection on 52 websites by third-party session replay scripts,” the researchers say.

Replay scripts are designed to record keystrokes, mouse movements, scrolling behavior, other forms of interaction, and webpage contents in order to send that data to marketing firms for analysis. In an adversarial context, they’d be called keyloggers or malware; but in the context of advertising, somehow it’s just session-replay scripts.

Gunes Acar, one of the report co-authors, was also the co-author of a similar research project in 2017 that looked at data gathering by session-replay companies Yandex, FullStory, Hotjar, UserReplay, Smartlook, Clicktale, and SessionCam.

Evidently, not much has changed since then, except perhaps that email addresses have become more desirable as unique identifiers now that privacy-oriented browsers like Brave, Firefox, and Safari are taking more steps to block cookies and tracking scripts.

Email addresses, the researchers observe, represent a cookie replacement because they’re unique, persistent, and can be used to track people across applications, platforms, and even offline interactions that may be tied to an email address like loyalty card transactions.

The website categories with the most leaking forms include: Fashion/Beauty (11.1 per cent, EU; 19 per cent US); Online Shopping (9.4 per cent EU; 15.1 per cent US); and General News (6.6 per cent EU; 10.2 per cent US).

Websites categorized as Pornography had the best privacy when it comes to surreptitious form data harvesting.

“A somehow surprising result was the following: despite filling email fields on hundreds of websites categorized as Pornography, we have not a single email leak,” the researchers say, noting that previous studies of adult-oriented websites have relatively fewer third-party trackers than similarly popular general interest websites.

Those pesky regulations

The report authors say that EU websites practicing email exfiltration may be in violation of at least three GDPR requirements: transparency, purpose limitation, and prior consent. Firms found to be violating these rules can be fined up to $20m euros or 4 per cent of annual revenue, per Article 83(5).

The US doesn’t have a federal data privacy law, though it’s conceivable one of the handful of US states with applicable privacy rules could take action against pre-submission form harvesting. But given the toothlessness of US privacy regulation over the past decade, don’t expect much.

The authors say they attempted to contact 58 first-parties and 28 third-parties with GDPR requests. They report receiving 30 responses from the first-parties, which varied from surprise and remediation to justifications of one sort or another.

“fivethirtyeight.com (via Walt Disney’s DPO), trello.com (Atlassian), lever.co, branch.io and cision.com were among the websites that said they had not been aware of the email collection prior to form submission on their websites and removed the behavior,” the report says.

Marriott, meanwhile, said the information collected by digital analytics firm Glassbox helps with customer care, technical support, and fraud prevention.

Third-parties Taboola, Zoominfo, and ActiveProspect defended their data collection practices.

Facebook, aka Meta, is among the third-parties involved in this. The researchers say that email addresses or their hashes were spotted being sent to facebook.com from 21 different websites in the EU.

“On 17 of these, Facebook Pixel’s Automatic Advanced Matching feature was responsible for sending the SHA-256 of the email address in a SubscribedButtonClick event, despite not clicking any submit button,” the report says.

Advanced Matching – called out recently for harvesting student loan data – is designed to collect hashed customer data, such as email addresses, phone numbers, and names from checkout, sign-in, and registration forms. The researchers speculate that on these sites, Facebook’s script treats clicks on non-submit buttons as a click event for the submit button.

Facebook did not respond to a request for comment.

The report concludes that browser vendors, regulators, and privacy tool makers need to deal with this issue because it isn’t going away. “Based on our findings, users should assume that the personal information they enter into web forms may be collected by trackers – even if the form is never submitted,” the report concludes. ®

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VC funding in Ireland rose in Q1, but not for deals under €10m

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A William Fry-commissioned report has found that funding deals under €10m have taken a big hit in the first three months of 2022.

Venture capital funding into Irish tech businesses was up by more than 50pc in the first quarter of this year, but there’s an unfortunate and potentially troubling caveat to that.

The Irish Venture Capital Association (IVCA) has published today (15 May) its latest report on VC funding into tech start-ups and SMEs in Ireland, which found that the investments increased by 52pc to €379.7m in the first three months of 2022, compared to the same period last year.

Future Human

But the report, commissioned by Dublin law firm William Fry, also found that VC funding in deals valued less than €10m have taken a hit.

IVCA chair Nicola McClafferty said that the headline figure of a funding boost conceals a “potentially worrying fall” of 30 to 50pc across all categories of deals under €10m – including seed funding.

“All the growth came from eight deals worth over €10m each, including three over €30m. While the momentum carried over from last year has continued for more established companies raising large rounds, some of that impetus seems to have stalled for earlier stage companies.”

Even the total number of deals overall fell by almost a third to 50 from 74 in the same period last year.

McClafferty said that this could be related to international trends affecting the business world right now, such as Russia’s invasion of Ukraine.

“While challenging market conditions may continue, we also know that many great companies are started and built in times of downturn, so we await with interest the data in the coming quarters,” she added.

Deals in the €5m to €10m range fell in value by more than half, while those in the €1m to €5m range also halved from €70.3m last year to €34.5m in Q1 2022. The value of deals below €1m dropped by 31pc to €8.9m.

Seed funding also took a hit, falling by nearly 40pc to €22.3m from €36.5m last year.

Nearly four-fifths of all funding came from overseas sources, according to IVCA director-general Sarah-Jane Larkin.

“While this is to be welcomed and emphasises the quality of Irish tech firms and their appeal to international investors, we have expressed concern before about where any shortfall would be made up if the global economy contracts,” she said.

Wayflyer, Ireland’s latest tech unicorn, led the way in terms of total value of funding received with a $150m in Series B funding valuing the start-up at $1.6bn. Flipdish, another Irish tech start-up that became a unicorn this year, raised $100m reaching a $1.25bn valuation.

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