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richardmurray

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  1. The Renaissance Theatre Building, as it was originally named, opened January 1921. It was built and owned, until 1931, by African Americans. exterior old NEWSPAPER NOTICES New York Age, 22 January 1921, p. 6. Chronicling America. New York Age, 5 February 1921, p. 5. Chronicling America. New York Age, 19 February 1921, p. 1. Chronicling America. article source https://www.ny1920.com/1921feb-3 The African-American owned and operated firm, The Sarco Realty & Holding Company, Inc., raised the funds for the project by selling shares to the public, initially, in February 1920, at 10¢ a share. Sarco's executive directors were William H. Roach, president and general manager; Cleo Charity (1889–1964), vice-president and treasurer; Cornelius Charity, second vice-president; and Joseph Henry Sweeney (1889–1932), secretary. The other directors were John Blake, Edmund Osborne, Shervington Lee, and Edward B. Lynch. Sarco Realty and the R. Holding Company, of which Roach was also President, purchased the land. Sarco contracted Isaac A. Hopper's Sons to erect the Renaissance Theatre building, at a cost of $175,000. Sarco Realty owned and managed the building until 1931; Sarco Realty also owned and operated the Renaissance Casino and Theatre until 1931. The Renaissance was designed by Harry Creighton Ingalls, who also designed the Henry Miller and Little Theatres in the Theater District. The design was Moorish with glazed tile and palladian windows. The complex had a ballroom, a billiard parlor, stores, and a restaurant called China House. There was a basketball team known as Harlem Rens. The theater had 900-seats and featured movies by Oscar Micheaux, the first African American to produce feature-length films. It was used by the NAACP for an Anti-lynching movement meeting in 1923. LETTER FROM WILLIAM ROACH TO WEB DUBOIS Title: Letter from William H. Roach to W. E. B. Du Bois Description: Inviting Du Bois to a meeting at the Renaissance Casino Building to select directors for the Harlem State Bank. Typewritten on stationery from the Sarco Realty & Holding Company and signed by Roach, President. Creator: Roach, William H. Addressee: Du Bois, W. E. B. (William Edward Burghardt), 1868-1963 Date: August 9, 1923 Format: Letters/Correspondence Manuscripts Location: Special Collections and University Archives, University of Massachusetts Amherst Libraries Box 023 (shelf locator) Collection (local): W. E. B. Du Bois Papers Series: Series 1. Correspondence Subjects: African American banks Extent: 1 p. Link to Item: https://credo.library.umass.edu/view/full/mums312-b023-i160 Terms of Use: All rights for this document are held by the David Graham Du Bois Trust. Requests to publish, redistribute, or replicate this material should be addressed to Special Collections and University Archives, University of Massachusetts Amherst Libraries. Contact host institution for more information. URL https://www.digitalcommonwealth.org/search/commonwealth-oai:h128q5597 RENS Robert ‘Bob’ Douglas was born in the British West Indies on Nov. 4, 1882. According to Naismith Hall of Famer John Isaacs, Douglas’ first sport was soccer and after playing soccer one day, he was invited to watch a basketball game. That day would not only change Bob’s life, but the game of basketball overall. Douglas’ passion for basketball manifested itself into him wanting to be involved with the sport in any way possible. He eventually found and managed a team named the Spartan Braves, named after the Spartan Field Club. Bob knew his team would need a venue to play in and that’s when he’d meet with William Roach. William ‘Willie’ Roach was one of the owners and operators of the Renaissance Ballroom and Casino. The venue was fully owned and operated by the Sarco Realty and Holdings Company, Inc., an all African American company. The ‘Renny’ as it was nicknamed, would open its doors in 1921 at the corner of 138th Street and 7th Avenue in Harlem. The ballroom was the only club open to African Americans, even the famous Cotton Club didn’t hold that distinction due to the Jim Crow laws of the time. “Black Mecca” would host jazz legends like Louis Armstrong, Lena Horne, Billie Holiday, and Ella Fitzgerald. It would even host plays, dances, prize fights, film screenings, and organization rallies. The Renaissance Ballroom was the epicenter of the Harlem Renaissance (known then as the New Negro Movement) of the 1920s and 30s. In October of 1923, the Spartan Braves would become the Renaissance Big R Five or “Rens” for short, after an agreement between Roach and Douglas to use the venue as their home court. That agreement would eventually be the blueprint for the licensing you see in modern professional sports today. They played (and won) their first game on Nov. 3, 1923 against the Collegiate Five, an all-white team. The Rens’ first rivals were the Original Celtics, not to be confused with the NBA’s Boston Celtics, out of West New York. They would defeat the Original Celtics on Dec. 20,1925, their first win in five meets. Bob Douglas would eventually start taking the Rens barnstorming, or traveling with the team across the country, for a chance to make more money. The team traveled sometimes 200 miles to face opponents, Black or white, while sleeping on the bus and eating cold meals due to the lack of facilities that barred them from being occupants due to the discriminatory laws that were in place at the time. These obstacles didn’t stop them from being dominant and in their 1932-33 season, they would have a regular season record of 120-8. They also won 88 consecutive games that season, a feat that hasn’t been matched by any professional sports team. In 1939, the Rens would win their first (and only) professional championship against the all-white Oshkosh All-Star 34-25 in the World Professional Basketball Tournament. The team compiled a record of 2588-529 from their inaugural season in 1923 until their move to Dayton, Ohio in 1948. The Dayton Rens would be short-lived as they disbanded in 1949 when the National Basketball League merged with the all-white Basketball Association of America to become the then-segregated National Basketball Association. Many former Renaissance players went to be enshrined into the Naismith Basketball Hall of Fame, including Pop Gates, who with William ‘Dolly’ King helped integrate the NBL, the predecessor to the NBA. The 1932-33 New York Renaissance were collectively inducted to the Naismith Basketball Hall of Fame in 1963 in recognition of their historic 88 game win streak. Robert Douglas was enshrined into the Naismith Basketball Hall of Fame as a contributor to the game of basketball on Feb. 5, 1972, the first African American ever to be individually enshrined. In the 21st century, the team’s history was the subject of the 2011 documentary, On the Shoulders of Giants: The Story of the Greatest Team You Never Heard Of, a film written and produced by six-time NBA champion and legendary center Kareem Abdul-Jabbar. The Rens are also the inspiration behind the EYBL team of the same name, ensuring that the legacy of what Bob Douglas started 101 years ago inspires generations to come. URL https://sacobserver.com/2024/03/the-father-of-black-professional-basketball/ PHOTOS BEFORE DEMOLITION
  2. CITADEL from a distance Sans Souci from a distance Citadel and Sans Souci in relation to each other Sans Souci up clode part 3 https://aalbc.com/tc/blogs/entry/489-architecture-sans-souci-palace-citadelle-la-ferriere-part-3/ part 2 https://aalbc.com/tc/blogs/entry/488-architecture-sans-souci-palace-citadelle-la-ferriere-part-2/ part 1 https://aalbc.com/tc/blogs/entry/474-architecture-sans-souci-palace-citadelle-la-ferriere/
  3. Sans Souci Palace plans original tif files https://1drv.ms/f/c/ea9004809c2729bb/Eo7cHj86TtRKlDVRchyc29kBXTjegLplPS32rYRInvMVnQ?e=NLPBif part 2 https://aalbc.com/tc/blogs/entry/488-architecture-sans-souci-palace-citadelle-la-ferriere-part-2/ part 1 https://aalbc.com/tc/blogs/entry/474-architecture-sans-souci-palace-citadelle-la-ferriere/
  4. citadelle la ferriere plans First part https://aalbc.com/tc/blogs/entry/474-architecture-sans-souci-palace-citadelle-la-ferriere/
  5. @Troy I concur, i would had copy and pasted what I wrote for clarification. If you didn't comprehend I would had copy and pasted again. I figured I didn't need to do that, not because it would had taken less effort but because it was unnecessary as you already know what I wrote. But I did need to clarify , how I interpreted your penultimate reply to me, in which we again differed in interpretation or clarity something else.
  6. The tragedy of spider man is he is the last major piece of marvel that needs to be reabsorbed into the main and Sony will never give him up. Disney bought 20th century fox to absorb the xmen into marvel. But sony will never give up spider man. I even argue that the sony live action films are designed to hold rights but are saboteurs cause: madame web/kraven the hunter/morbius/venom 3 are all crap. While people praise sony animation, for their spider verse, sony live action is atrocious. The good news for Feige is in the Xmen storm can blow miles morales out the spouts. But story wise I think it is good Miles Morales , a black white character, the black spider man , can't be in the mcu for a simple storytelling reason. Mile s Morales whole storyline is dependent on the multiverse. If you take the multiverse out of miles morales story, you literally have a cheap colored version of peter parker's storyline with alot of infinitely repeated non white european characters in white written or white based fiction. Black self righteous father law enforcer who speaks of the community he lives in unending negative ways Spanglish speaking mulatto latina who blurts out in spanish whenever she is angry and always has a moment of dancing and continues the tired tradition of the black mom in white media beforehand And I am very happy Black Superman didn't happen. I can't stand black superman, or any black white character. so many black people have actually written black characters. Even though storm was written by a white man which is clear to see, at least her and Nubia are originally supposed to be black. But... please spider man/superman, please stop this. Glad the miles morales movies made money, very glitzy, glammy, not great story. And I hope part 3 makes the most, but I am not a fan of these. Blood Syndicate from Milestone
  7. @Pioneer1 @frankster @Chevdove what is it either of you want with this issue? I notice with the activities list this topic has gone on and on, you each continually reiterate your positions to each other. What is it either of you want? Do either of you want to convince the other two, proselytize? Or do you either of you love the banter?
  8. @Delano or @frankster what work of fiction by a black writer has ever been relatable to a symbolist?
  9. @Troy you said the following which means whatever you did or did not interpret, you didn't comprehend my position from my supporting statements while you clearly interpreted in some way what I shared supported your position . yes? tell the truth now. And you continue I didn't assume anything, your words stated you interpreted what I wrote as supporting your own position. If not in full, in part, or in absence. yes? tell the truth now. You did ask for more clarity, to be more clear, but I spoke in common language. I think i wasn't vague in any way. I can't be more clearer in my own mind but I offer you to read it again as many times as needed until you can achieve the clarity you are searching for which I can not provide. Know this I comprehend your position and don't see your position as supporting mine, while I also still comprehend my own position and don't see it as supporting yours. I think the language in both positions is simple and clear. And I am content with the existence of both. Experience which only comes through time will deliver who is correct or true, both positions are only assumption until history was.
  10. @Troy well, the answer to your question i will say after I state four things 1. we both know you gave your position and your reasoning 2. we both know I commented my position and gave my reasoning 3. we both know you interpreted my reasoning as supporting your own , not supporting mine. 4. we both know you know my reasoning still holds true for me so to answer your question, I have nothing more to say. I am not a proselytizer, and I am not repeating what I wrote.
  11. Coming Soon July 20 - Moon farthest from Earth , perigee; Uranus Moon conjunction, appear in horizontal or vertical alignment in the sky 21- Venus Moon conjunction 22- Moon highest above extended equatorial plane of earth, the celestial equator, rides high; Sandford Fleming died 1915 ; St Mary Magdalene Sandford Fleming made Canada's first postage stamp, and promoted worldwide standard time zones [ https://glimpsesofcanadianhistory.ca/the-three-pence-beaver-canadas-first-postage-stamp/ ] The Gospel of Mary is real, is it from Mary of Magdalene,? no one is undeniably certain. Tell for yourself https://www.earlychristianwritings.com/gospelmary.html https://web.archive.org/web/20080705205729/http://www.maryofmagdala.com/GMary_Text/gmary_text.html https://reluctant-messenger.com/gospel-magdalene.htm http://gnosis.org/library/marygosp.htm https://en.wikipedia.org/wiki/Gospel_of_Mary 23 - Jupiter Moon conjunction 24 - New Moon- moon for moments is completely invisible as the earth's covers it from the light of the sun 25- Mercury at Moon ; Pluto is opposite the sun in the sky, opposition 26- Benjamin Franklin becomes the first postmaster general of the usa Image from Sandra Bland [ https://aalbc.com/tc/events/event/405-sandra-bland-spirit-flew-july-13th-2015/ ] MY LINKTREE https://aalbc.com/tc/clubs/page/2-rmworkposts/ RM WORK CALENDAR Calligraphy Mirror Wantagh's Car Making an Antagonist Community Stories 001 part 2 Community Stories 001 part 3 Artist be like + Spiderman head tutorial CENTO Series episode 113 https://aalbc.com/tc/events/5-rmworkcalendar/week/2025-07-19/ RM COMMUNITY CALENDAR Sandra Bland Character Copyright The problem humanity has with Richard Matheson's I AM LEGEND Open AI Operator from Black Games Elite Audiobook narration styles future The Corporation for Public Broadcasting https://aalbc.com/tc/events/7-rmcommunitycalendar/week/2025-07-19/
  12. The following two articles convey the issue for the Corporation for Public Broadcasting. On the red side, party of abraham lincoln today, you have the old idea that the market always provides. So the idea is, taxpayer dollars are not needed cause the market will provide, and if it didn't it will when applicable. This is what I call the black panther argument. yes, Disney made Black Panther, but Disney also knows that the modern circa 2020 black populace globally has billions of dollars, thus the financial revenue capable to provide from black film goers warrants a 99% black film in casting/writing/direction et cetera. And Coogler to his credit in Black Panther 2 and Sinners has brought Indigenous creatives along for the ride. The red side like the idea that whether the market doesn't support or does support an entertainment, it is an even thing. On the blue side, party of andrew jackson today, you have the old idea that the usa has an imbalanced marketplace based on centuries of blockading by white male christian heterosexual immigrants to the indigenous/black/female/muslim/asian/lgbtq/or other. And that has created a modern audience that has been engineered to desire or accept certain qualities of entertainment that can not be undone through the marketplace. Sequentially, avenues are needed that allow entertainment that doesn't fit the norm from 1492 or even 1176 or even the 1960s to be viewed or accessed and since the USA majority in the past caused the imbalanced marketplace, their descendants plus the descendants of those killed/terorrized/enslaved by the historic majority should all be willing to pay. I have always said that black people with money in the usa historically but definitely in modernity have never navigated their two simultaneous goals well. They want to make money aside any and all other fiscally wealthy people in this white designed system in the usa While supporting plus improving the black community in the usa. They tend to do decently in the former and terribly in the latter. But the usa has a financial debt to the indigenous to the descended of enslaved that is priceless, can never be paid, so at least it can put a down payment. ARTICLE ELEPHANT Marjorie Taylor Greene often errs, but not about defunding public broadcasting | Opinion The uncomfortable reality is that NPR and PBS have long since outlived their utility. Now the federal government is simply paying for content whether taxpayers support it or not. Cameron SmithColumnist april 3rd 2025 5pm ct When U.S. Rep. Marjorie Taylor Greene, R-Georgia, makes a pronouncement, I brace for impact the same way I’d prepare for a car or train wreck. Her bombastic style might be popular with MAGA voters, but it’s frequently a distraction from Republican governing priorities. Occasionally, even the loudest voices land on a truth worth considering. This time, she’s right − the Corporation for Public Broadcasting (CPB) should be eliminated. For years, conservatives have argued that taxpayer dollars should not be used to fund media CPB outlets like National Public Radio (NPR) and the Public Broadcasting Service (PBS) because of their politically biased programming and leadership. To date, Congress has largely avoided those arguments as yet another round of culture war bickering. NPR's past statements show clear partisanship In recent testimony before Congress, NPR’s CEO Katherine Maher admitted concern when confronted with the allegation that 100% of her editorial board − 87 members − are registered Democrats. Notably, she did not dispute the allegation. Regrettably, Maher’s prior public comments have become a political lightning rod. In 2016, she lamented Hillary Clinton’s use of the terms “boy and girl” as erasing language for non-binary people. In 2020, Maher referred to President Donald Trump as a “deranged racist sociopath.” In a 2022 TED Talk, she infamously stated, “our reverence for the truth might be a distraction that’s getting in the way of finding common ground and getting things done.” Maher’s political views are quite liberal and particularly well established in spite of her apparent amnesia about the same during her congressional testimony. It doesn’t matter. American CEOs with political hot takes are a dime a dozen. The main difference between Maher and her executive peers is that most CEOs run companies which aren’t funded by the American taxpayer. When the person leading a publicly funded media entity openly speaks like a political activist, the premise that NPR offers an unbiased, fair approach to programming doesn’t hold water. Shockingly, that doesn’t really matter either. Broadcast landscape has changed as consumer habits have The CPB shouldn’t exist at all. The First Amendment enshrines a free press to hold government power accountable. A government-funded media apparatus, no matter how unbiased it claims to be, cannot credibly serve that end because political masters hold the financial reins. Government must be able to communicate to the public, but CPB is inherently state programming masquerading as a typical media outlet. Defenders of NPR and PBS will argue that CPB provides essential programming that wouldn’t otherwise survive in a purely commercial media landscape. That might have been the case in the era of three television networks and a handful of AM radio stations, but the world has changed. The explosion of digital media has shattered any legitimate claim that we need government-funded television or radio to ensure diverse perspectives and high-quality journalism. Americans today have more media choices than ever before. Streaming services, podcasts, YouTube channels, and independent news sites provide content precisely tailored to every conceivable interest and ideology. If a viewpoint or niche deserves an audience, it can and will find one without taxpayer dollars propping it up. Testifying with Maher, Alaska Public Media’s Ed Ulman claimed public media may be the only option for rural emergency broadcasts. "We provide potentially life-saving warnings and alerts that are crucial for Alaskans who face threats ranging from extreme weather to earthquakes, landslides and even volcanoes," he said. While such communications are indeed essential, we have countless ways of providing them which don’t justify the existence of a federal media bureaucracy. Elon Musk’s Starlink comes immediately to mind as a radically more efficient solution for emergency communications than CPB’s $500 million annual cost. NPR and PBS can survive without the government's dime Others will contend that NPR and PBS produce valuable content beyond public communications, such as educational programming and cultural shows. The reality is that PBS doesn’t own most of its iconic programs. It secures the rights to run them through acquisition deals. If these programs are truly valuable, the content-hungry modern media marketplace would certainly air them. Take "Sesame Street," once the flagship defense of public broadcasting, for example. In 2016, HBO secured rights to first-runs of the popular children’s program with episodes running on PBS several months later. At the end of 2024, Warner Bros. Discovery, the parent company of HBO, opted not to renew the Sesame Street deal. One of the most memorable shows of my childhood is presently homeless. If PBS’s most venerated show can’t find market traction, what does that say about how much Americans value CPB content? The uncomfortable reality is that NPR and PBS have long since outlived their utility. Now the federal government is simply paying for content whether taxpayers support it or not. Pulling the plug on CPB funding wouldn’t “silence” NPR or PBS. They could continue to operate with private donations, subscription models, or sponsorships − just like every other media outlet struggling today. In a free society, the press should hold the government accountable, not be an extension of it. That’s the principle that matters here. And it’s why, despite the messenger, Greene’s argument to eliminate the CPB merits strong consideration. USA TODAY Network Tennessee Columnist Cameron Smith is a Memphis-born, Brentwood-raised recovering political attorney raising four boys in Nolensville, Tenn., with his particularly patient wife, Justine. Direct outrage or agreement to smith.david.cameron@gmail.com or @DCameronSmith on Twitter. Agree or disagree? Send a letter to the editor to letters@tennessean.com. URL https://www.tennessean.com/story/opinion/columnists/2025/04/03/public-broadcasting-funding-marjorie-taylor-greene/82764143007/ I sent a letter to the Tennesseean in reply letters@tennessean.com Richard Murray, PO Box ~ 07/19/2025 Dear Editor I reply to the quality of ("Marjorie Taylor Greene often errs, but not about defunding public broadcasting" , April 3rd 2025) I have never seen anyone who suggest programs of similar or better quality than that of PBS make a list to said programs. If I want to see a documentary as good as "The Civil War" or "The Vietnam War" by Ken Burns outside CPB/PBS where do I go? If I want to see a documentary about a financially impoverished , populationwise impotent population like "Alaska's Vanishing Native Village" by Frontline outside of CPB/PBS where do I go? The best way to prove that the private media market has the same quality programs isn't to say they exist, but to list them. And if you can't list them, then one can only assume they don't exist in the private media market. I am black and I have heard my entire life from whites who live in New York City, that the marketplace is the answer to everything. It always has the solutions or will have the solutions. Now even though Nat King Cole couldn't get sponsors with more viewers than any other show in the usa in the past... in modernity , streaming services or cable networks that are advertised as black owned exist. So, Cameron Smith's argument is , why can't a Black owned cable network or streaming service host a show like Finding your roots by henry louis gates jr. and if it fails there, if fails. For Indigenous or Black people the centuries of being blockaded by whites to fiscal activities/market activities in the USA were market manipulators. In the USA, the problem with modernity is the past didn't arrive today in a ship of opportunity. One group, white christian heterosexual men through the power of the gun, obtained all the opportunities so no industry in the usa today has the centuries of business ownership or labor participation it should had by Indigenous/Blacks/Women/Asians so it is malformed in modernity. The CPB/PBS/NPR allow for what was lacking for centuries to have a small outlet in modernity and I argue since whites killed the native american, enslaved the black american, the taxpayers on whole who are mostly white shouldn't be opposed to paying for an imbalance their forebears made that gives them more opportunities than others today. IN AMENDMENT I said let me find a list of black owned media networks, or supposedly black owned. LIST OF SUPPOSEDLY BLACK OWNED STREAMING SERVICES https://www.kweli.tv/livetv https://allblk.tv/ (no live stream) https://vimeo.com/user50164403 (Afrokids on vimeo) https://www.youtube.com/channel/UC0TLvo891eEEM6HGC5ON7ug (youtube from Afrokids) https://www.brownsugar.com/?ref=blog.obws.com https://www.oprah.com/app/live-tv.html https://www.youtube.com/c/SLAYTV/featured (youtube channel for lgbtq+) https://www.afrolandtv.com/ https://urbanflixtv.com/pages/new_catalog https://urbn-tv.com/?ref=blog.obws.com LIST OF SUPPOSEDLY BLACK OWNED CABE NETWORKS https://watchimpact.com/ https://tvone.tv/ https://aspire.tv/ https://www.bouncetv.com/ https://theafricachannel.com/ https://www.ssn.tv/ https://www.revolt.tv/ https://www.youtube.com/@mycleotv IN AMENDMENT 2 Looking at them briefly, most of the content is: gossip shows(sport gossip or entertainment gossip or music gossip) situational comedies (which I nearly despise, it is very rare that I like a situational comedy) soap opera or telenovela(another I can't stand) religious (christian pastors) black genre films (comedy or the urban gun) I have got to find a space to become a better commercial writer to black people ARTICLE DONKEY Opinion - Here's why Republicans hate public broadcasting so much Patricia Aufderheide, Common Dreams July 18, 2025 12:00PM ET Our public radio and TV stations are in grave peril, and with them the unique services they perform for our communities. By the end of day Friday July 18, we’ll know if Congress has clawed back the money it already gave to public broadcasting, through the Corporation for Public Broadcasting, or CPB. (The House will decide; this is your moment to call your representatives to ask them to support their public radio and TV stations, and to join — for free — Protectmypublicmedia.org.) Even if that money stays protected, though, public radio and TV will continue to be attacked. I’ve studied public broadcasting here and around the world for 40 years. And I serve on the board of directors of the taxpayer-funded Independent Television Service, which coproduces a lot of the documentaries you might see on public TV. So, of course, I think it’s an important part of our media in America. But I think you probably do, too. You might know public broadcasting through your local TV or radio station, both private nonprofits. Or you might know it through the services many such stations depend on for daily, high-quality, award-winning programs: National Public Radio (NPR) and Public Broadcasting Service (PBS). Both of them are private nonprofits that make, select, and bundle programs for public stations. Either way, you’re in good company. PBS and NPR are the most trusted media brands in the United States. Half of PBS viewers depend on PBS for news and information, including more than half of people who identify as “extreme conservatives” or “extreme liberals.” NPR’s news is trusted by more than half of those who have heard of it. Americans trust public media news and public affairs much more (by half) than they do commercial mainstream media. Public stations, like those in Oklahoma, are the ones to issue emergency warnings in time of crisis. Kids learn about job opportunities from CPB’s American Graduate: Jobs Explained series — supported among others by Iowa, Tennessee, and Arizona public broadcasters. In rural Eureka, California, the public station carries program for the local indigenous communities. In south Texas, KDET provides distance learning for kids whose first language is Spanish. ITVS documentaries have brought you inside stories from small towns like Medora, Indiana; Taft, Oklahoma; Norco, Louisiana; and Huslia, Alaska. American taxpayers contribute, overall, about 15% of the budgets of public radio and TV stations — a percentage that’s usually lower for the bigger, more urban stations, and higher for smaller, rural stations. Alleghany Mountain Radio and KTNA in Talkeetna, Alaska for instance depend on federal funds for about two-third of their budgets. Last year CPB’s budget was $535 million. (For comparison, military marching bands cost the American taxpayers more than $300 million a year.) The rest comes from us as individual donors, from private and corporate foundations, and from local and state taxes. So it’s not big funding and cutting it would make no dent in the deficit. But it’s critical funding; it’s the money that leverages all the rest of it, and that provides the stability to be able to do the work year after year. The people who designed public broadcasting — and that included a lot of people, from the late Bill Moyers as an aide to President Lyndon Johnson, to military experts and educators — were worried about how government funding could become censorship. So they created CPB as a private nonprofit, not as a government agency. That is why the Trump administration cannot fire its staff or its board. CPB and local stations all have First Amendment protection against government interference. And that is why the Trump administration cannot tell them what to program or which services, like NPR and PBS, to use. The designers required Congress to give CPB its budget two years in advance, to protect against political shenanigans. That is why Congress has to vote to claw that money back. What public broadcasting’s designers created is unique in the world — most countries’ public broadcasting is just a mouthpiece for government. In the U.S., public broadcasting plays a unique role in our media diets as free, reliable, and trusted information, a connection to local communities, and a daily example of the essential role of shared public knowledge in democratic life. If it goes, we won’t get it back. So far, public broadcasting has weathered political attacks, which didn’t begin with this administration but have reached a new high with it. But it has only done so by depending on its users—you and me—to come out and show their support. Right now is the time to call your representatives, and to join Protectmypublicmedia.org. (Protect My Public Media makes it super-easy to connect with your reps.) We all have something to lose. Patricia Aufderheide is professor in the School of Communication at American University. She is a board member of the Independent Television Service. URL https://www.rawstory.com/corporation-for-public-broadcasting/
  13. I talk about OpenAI Operator and some projecting https://aalbc.com/tc/blogs/entry/487-openai-operator/
  14. I read the introduction from OpenAI I remember learning about browser design and I told my friends a browser that can go into a web page and extract will be very useful. I still think that is true but I also comprehend the level of security problems this leads to. OpenAI clearly comprehends a lawsuit can hit them so they have started using this through ChatGPT, and show one financial issue as it is only for people who pay for ChatGPT pro. But they plan to expand to Plus, Team, and Enterprise users. So the goal is for this to be a paid service. Now what functionalities are stated: scrolling on a webpage/interacting[typing or clicking] on a webpage [to fill out forms/ordering groceries {which means a users financial data}/creating memes{are they original ?}] When I think of OpenAI firm or the computer programs they created, and the larger community of firms or computer programs that modify themselves based on human input to mimick human interaction, what some call AI [which it is not], I am reaffirmed of the value private data has. The internet and its public data model, is how OpenAI and others were, in my legal view, able to illegally access enough data to get their computer programs to modify themselves strong enough to be convincing mimicks while not paying the financial price of accessing that data. Now, with Operator and others, the free internet information will be sifted through. So, I argue the future of the internet will be walls. Walls is the only answer to offer security in the future. This doesn't mean the world wide web will end. It means that it will break up into webs within the larger internet. Data crossing the webs will become expensive, big firms can pay. In Europe a number of cities already have city based internets, where aside of the world wide web, the city residents have their own city wide web which is only accessed by locals and doesn't allow for intergovernmental or interregional(regions under the same government) access. I wonder if someone has built a computer program on the same principles as the large language model to deter access by other computer programs based on the large language model. The best answer will be the advance in basic memory storage from the quantum computers or other technologies but that technology is more expensive in all earnest. OpenAI suggest they want it to be safe but it has an auto dysfunction they can't control. Humans. I can tell from their literature below, they see this as a corporate tool in the near future very much so, yes paid customers, but they are wary of the truly public internet, because anything connected can be manipulated and having a system that users will use as a heavier crutch while traveling throughout the internet picking up various little programs here or there will make every user of this more damaging to the security of the system. Now OpenAI will do its best to be as secure as possible, but the reality is, no one can defeat the dysfunction of the internet itself, which is its public connectivity. So , walls will be needed, a counter internet movement where some will have private data stores with units that can access only through wire and they will be specifically engineered. Maybe even quantum computing wire connections. Local webs supported by private information stores while isolated intentionally from the world wide web. I end with one point, human design inefficiency is at the heart of all of this. The internet itself, was allowed to grow corrupt or dysfunctionally by humans who: saw it as an invasive tool [governments/firms] , saw it incorrectly as a tool for human unity [idealism of many colleges or psychologist or social scientist]or as a tool to mirror science fiction uses of computers absent the lessons from the stories[star trek primarily, whose shows computers show the guidelines that computers + computer programs should have today that... welll ] IN AMENDMENT Black people from the americas[south/central/north/caribbean] , africa, asia, love using chatgpt. I do blame frederick Douglass for starting with the camera, suggesting an infatuation with tech that is embedded in the black populace in humanity. I don't use any of it. I only use deviantart dreamup and that is only because i pay for it, and sparsely. But relying on a tool isn't bad but one can over rely. And for the arts, the walls going up will be positive. At first negative, because audiences will be shocked. The first three phases of the internet [Basic era/world wide web era/ Large Language Model era] trained humans to see art in three ways: free +comforting+ idolic. Free meaning, people love art that is free. Free to make, free to acquire, free to access, free to whatever. Paying for art has become uncommon for the masses. This is why from porn to music videos to any literature, the money is little. The money in the arts is in live performance. Adult stars who perform live on livestream or do live events at conventions, musicians live concerts , literature being composed live. Is the profit angle. Comforting in that, art that doesn't provide what is expected is rejected more grandly. Give it a chance is not dead but has so few who do it and with no one in need of doing it, as the internet allows your artistic tastes to be eternally supported, you don't ever need to consider a different angle in any art. Lastly, Idolic, if an artist is popular these are the best of times. All the computer programs in media are designed to flow to the most popular, you see this in sprot stars/musicians/writers. The problem is the artist who isn't popular hahaha, has to find a way to become popular and it is more than commerciality. I know too many artists who have tried to be commercial and failed to suggest all an artist need do today is follow trends:) no... ARTICLES Introducing Operator A research preview of an agent that can use its own browser to perform tasks for you. Available to Pro users in the U.S. https://operator.chatgpt.com/July 17, 2025 update: Operator is now fully integrated into ChatGPT as ChatGPT agent. To access these updated capabilities, simply select “agent mode” from the dropdown in the composer and enter your query directly within ChatGPT. As a result, the standalone Operator site (operator.chatgpt.com) will sunset on in the coming weeks. Today we’re releasing Operator⁠(https://operator.chatgpt.com/ ), an agent that can go to the web to perform tasks for you. Using its own browser, it can look at a webpage and interact with it by typing, clicking, and scrolling. It is currently a research preview, meaning it has limitations and will evolve based on user feedback. Operator is one of our first agents, which are AIs capable of doing work for you independently—you give it a task and it will execute it. Operator can be asked to handle a wide variety of repetitive browser tasks such as filling out forms, ordering groceries, and even creating memes. The ability to use the same interfaces and tools that humans interact with on a daily basis broadens the utility of AI, helping people save time on everyday tasks while opening up new engagement opportunities for businesses. To ensure a safe and iterative rollout, we are starting small. Starting today, Operator is available to Pro users in the U.S. at operator.chatgpt.com⁠(opens in a new window). This research preview allows us to learn from our users and the broader ecosystem, refining and improving as we go. Our plan is to expand to Plus, Team, and Enterprise users and integrate these capabilities into ChatGPT in the future. How Operator works Operator is powered by a new model called Computer-Using Agent (CUA) [ https://openai.com/index/computer-using-agent/ ] . Combining GPT‑4o's vision capabilities with advanced reasoning through reinforcement learning, CUA is trained to interact with graphical user interfaces (GUIs)—the buttons, menus, and text fields people see on a screen. Operator can “see” (through screenshots) and “interact” (using all the actions a mouse and keyboard allow) with a browser, enabling it to take action on the web without requiring custom API integrations. If it encounters challenges or makes mistakes, Operator can leverage its reasoning capabilities to self-correct. When it gets stuck and needs assistance, it simply hands control back to the user, ensuring a smooth and collaborative experience. While CUA is still in early stages and has limitations, it sets new state-of-the-art benchmark results in WebArena and WebVoyager, two key browser use benchmarks. Read more about evals and the research behind Operator in our research blog post. How to use To get started, simply describe the task you’d like done and Operator can handle the rest. Users can choose to take over control of the remote browser at any point, and Operator is trained to proactively ask the user to take over for tasks that require login, payment details, or when solving CAPTCHAs. Users can personalize their workflows in Operator by adding custom instructions, either for all sites or for specific ones, such as setting preferences for airlines on Booking.com. Operator lets users save prompts for quick access on the homepage, ideal for repeated tasks like restocking groceries on Instacart. Similar to using multiple tabs on a browser, users can have Operator run multiple tasks simultaneously by creating new conversations, like ordering a personalized enamel mug on Etsy while booking a campsite on Hipcamp. Ecosystem & users Operator⁠(https://www.stocktonca.gov/ ) transforms AI from a passive tool to an active participant in the digital ecosystem. It will streamline tasks for users and bring the benefits of agents to companies that want innovative customer experiences and desire higher rates of conversion. We’re collaborating with companies like DoorDash, Instacart, OpenTable, Priceline, StubHub, Thumbtack, Uber, and others to ensure Operator addresses real-world needs while respecting established norms. In addition to these collaborations, we see a lot of potential to improve the accessibility and efficiency of certain workflows, particularly in public sector applications. To explore these use cases further, we’re working with organizations like the City of Stockton⁠(opens in a new window) to make it easier to enroll in city services and programs. By releasing Operator to a limited audience initially, we aim to learn quickly and refine its capabilities based on real-world feedback, ensuring we balance innovation with trust and safety. This collaborative approach helps ensure Operator delivers meaningful value to users, creators, businesses, and public sector organizations alike. Safety and privacy Ensuring Operator is safe to use is a top priority, with three layers of safeguards to prevent abuse and ensure users are firmly in control. First, Operator is trained to ensure that the person using it is always in control and asks for input at critical points. Takeover mode: Operator asks the user to take over when inputting sensitive information into the browser, such as login credentials or payment information. When in takeover mode, Operator does not collect or screenshot information entered by the user. User confirmations: Before finalizing any significant action, such as submitting an order or sending an email, Operator should ask for approval. Task limitations: Operator is trained to decline certain sensitive tasks, such as banking transactions or those requiring high-stakes decisions, like making a decision on a job application. Watch mode: On particularly sensitive sites, such as email or financial services, Operator requires close supervision of its actions, allowing users to directly catch any potential mistakes. Next, we’ve made it easy to manage data privacy in Operator. Training opt out: Turning off ‘Improve the model for everyone’ in ChatGPT settings means data in Operator will also not be used to train our models. Transparent data management: Users can delete all browsing data and log out of all sites with one click under the Privacy section of Operator settings. Past conversations in Operator can also be deleted with one click. Lastly, we’ve built defenses against adversarial websites that may try to mislead Operator through hidden prompts, malicious code, or phishing attempts: Cautious navigation: Operator is designed to detect and ignore prompt injections. Monitoring: A dedicated “monitor model” watches for suspicious behavior and can pause the task if something seems off. Detection pipeline: Automated and human review processes continuously identify new threats and quickly update safeguards. We know bad actors may try to misuse this technology. That’s why we’ve designed Operator to refuse harmful requests and block disallowed content. Our moderation systems can issue warnings or even revoke access for repeated violations, and we’ve integrated additional review processes to detect and address misuse. We’re also providing guidance( https://openai.com/policies/using-chatgpt-agent-in-line-with-our-policies/ ) on how to interact with Operator in compliance with our Usage Policies.( https://openai.com/policies/usage-policies/ ) While Operator is designed with these safeguards, no system is flawless and this is still a research preview; we are committed to continuous improvement through real-world feedback and rigorous testing. For more on our approach, visit the safety section of the Operator research blog. Limitations Operator is currently in an early research preview, and while it’s already capable of handling a wide range of tasks, it’s still learning, evolving and may make mistakes. For instance, it currently encounters challenges with complex interfaces like creating slideshows or managing calendars. Early user feedback will play a vital role in enhancing its accuracy, reliability, and safety, helping us make Operator better for everyone. What's next CUA in the API: We plan to expose the model powering Operator, CUA, in the API soon so that developers can use it to build their own computer-using agents. Enhanced Capabilities: We’ll continue to improve Operator’s ability to handle longer and more complex workflows. Wider Access: We plan to expand Operator⁠(opens in a new window) to Plus, Team, and Enterprise users and integrate its capabilities directly into ChatGPT in the future once we are confident in its safety and usability at scale, unlocking seamless real-time and asynchronous task execution. Authors OpenAI Foundational research contributors Casey Chu, David Medina, Hyeonwoo Noh, Noah Jorgensen, Reiichiro Nakano, Sarah Yoo Core Andrew Howell, Aaron Schlesinger, Baishen Xu, Ben Newhouse, Bobby Stocker, Devashish Tyagi, Dibyo Majumdar, Eugenio Panero, Fereshte Khani, Geoffrey Iyer, Jiahui Yu, Nick Fiacco, Patrick Goethe, Sam Jau, Shunyu Yao, Stephan Casas, Yash Kumar, Yilong Qin XFN Contributors Abby Fanlo Susk, Aleah Houze, Alex Beutel, Alexander Prokofiev, Andrea Vallone, Andrea Chan, Christina Lim, Derek Chen, Duke Kim, Grace Zhao, Heather Whitney, Houda Nait El Barj, Jake Brill, Jeremy Fine, Joe Fireman, Kelly Stirman, Lauren Yang, Lindsay McCallum, Leo Liu, Mike Starr, Minnia Feng, Mostafa Rohaninejad, Oleg Boiko, Owen Campbell-Moore, Paul Ashbourne, Stephen Imm, Taylor Gordon, Tina Sriskandarajah, Winston Howes Leads Aaron Schlesinger (Infrastructure), Casey Chu (Safety and Model Readiness), David Medina (Research Infrastructure), Hyeonwoo Noh (Overall Research), Reiichiro Nakano (Overall Research), Yash Kumar Contributors Adam Brandon, Adam Koppel, Adele Li, Ahmed El-Kishky, Akila Welihinda, Alex Karpenko, Alex Nawar, Alex Tachard Passos, Amelia Liu, Andrei Gheorghe, Andrew Duberstein, Andrey Mishchenko, Angela Baek, Ankush Agarwal, Anting Shen, Antoni Baum, Ari Seff, Ashley Tyra, Behrooz Ghorbani, Bo Xu, Brandon McKinzie, Bryan Brandow, Carolina Paz, Cary Hudson, Chak Li, Chelsea Voss, Chen Shen, Chris Koch, Christian Gibson, Christina Kim, Christine McLeavey, Claudia Fischer, Cory Decareaux, Daniel Jacobowitz, Daniel Wolf, David Kjelkerud, David Li, Ehsan Asdar, Elaine Kim, Emilee Goo, Eric Antonow, Eric Hunter, Eric Wallace, Felipe Torres, Fotis Chantzis, Freddie Sulit, Giambattista Parascandolo, Hadi Salman, Haiming Bao, Haoyu Wang, Henry Aspegren, Hyung Won Chung, Ian O’Connell, Ian Sohl, Isabella Fulford, Jake McNeil, James Donovan, Jamie Kiros, Jason Ai, Jason Fedor, Jason Wei, Jay Dixit, Jeffrey Han, Jeffrey Sabin-Matsumoto, Jennifer Griffith-Delgado, Jeramy Han, Jeremiah Currier, Ji Lin, Jiajia Han, Jiaming Zhang, Jiayi Weng, Jieqi Yu, Joanne Jang, Joyce Ruffell, Kai Chen, Kai Xiao, Kevin Button, Kevin King, Kevin Liu, Kristian Georgiev, Kyle Miller, Lama Ahmad, Laurance Fauconnet, Leonard Bogdonoff, Long Ouyang, Louis Feuvrier, Madelaine Boyd, Mamie Rheingold, Matt Jones, Michael Sharman, Miles Wang, Mingxuan Wang, Nick Cooper, Niko Felix, Nikunj Handa, Noel Bundick, Pedro Aguilar, Peter Faiman, Peter Hoeschele, Pranav Deshpande, Raul Puri, Raz Gaon, Reid Gustin, Robin Brown, Rob Honsby, Saachi Jain, Sandhini Agarwal, Scott Ethersmith, Scott Lessans, Shauna O’Brien, Spencer Papay, Steve Coffey, Tal Stramer, Tao Wang, Teddy Lee, Tejal Patwardhan, Thomas Degry, Tomo Hiratsuka, Troy Peterson, Wenda Zhou, William Butler, Wyatt Thompson, Yao Zhou, Yaodong Yu, Yi Cheng, Yinghai Lu, Younghoon Kim, Yu-Ann Wang Madan, Yushi Wang, Zhiqing Sun Leadership Anna Makanju, Greg Brockman, Hannah Wong, Jerry Tworek, Liam Fedus, Mark Chen, Peter Welinder, Sam Altman, Wojciech Zaremba URL https://openai.com/index/introducing-operator/ Computer-Using Agent Powering Operator with Computer-Using Agent, a universal interface for AI to interact with the digital world. oday we introduced a research preview of Operator⁠(opens in a new window), an agent that can go to the web to perform tasks for you. Powering Operator is Computer-Using Agent (CUA), a model that combines GPT‑4o's vision capabilities with advanced reasoning through reinforcement learning. CUA is trained to interact with graphical user interfaces (GUIs)—the buttons, menus, and text fields people see on a screen—just as humans do. This gives it the flexibility to perform digital tasks without using OS-or web-specific APIs. CUA builds off of years of foundational research at the intersection of multimodal understanding and reasoning. By combining advanced GUI perception with structured problem-solving, it can break tasks into multi-step plans and adaptively self-correct when challenges arise. This capability marks the next step in AI development, allowing models to use the same tools humans rely on daily and opening the door to a vast range of new applications. While CUA is still early and has limitations, it sets new state-of-the-art benchmark results, achieving a 38.1% success rate on OSWorld for full computer use tasks, and 58.1% on WebArena and 87% on WebVoyager for web-based tasks. These results highlight CUA’s ability to navigate and operate across diverse environments using a single general action space. We’ve developed CUA with safety as a top priority to address the challenges posed by an agent having access to the digital world, as detailed in our Operator System Card. [ https://openai.com/index/operator-system-card/ ] In line with our iterative deployment strategy, we are releasing CUA through a research preview of Operator at operator.chatgpt.com⁠(opens in a new window) for Pro Tier users in the U.S. to start. By gathering real-world feedback, we can refine safety measures and continuously improve as we prepare for a future with increasing use of digital agents. How it works CUA processes raw pixel data to understand what’s happening on the screen and uses a virtual mouse and keyboard to complete actions. It can navigate multi-step tasks, handle errors, and adapt to unexpected changes. This enables CUA to act in a wide range of digital environments, performing tasks like filling out forms and navigating websites without needing specialized APIs. Given a user’s instruction, CUA operates through an iterative loop that integrates perception, reasoning, and action: Perception: Screenshots from the computer are added to the model’s context, providing a visual snapshot of the computer's current state. Reasoning: CUA reasons through the next steps using chain-of-thought, taking into consideration current and past screenshots and actions. This inner monologue improves task performance by enabling the model to evaluate its observations, track intermediate steps, and adapt dynamically. Action: It performs the actions—clicking, scrolling, or typing—until it decides that the task is completed or user input is needed. While it handles most steps automatically, CUA seeks user confirmation for sensitive actions, such as entering login details or responding to CAPTCHA forms. Evaluations CUA establishes a new state-of-the-art in both computer use and browser use benchmarks by using the same universal interface of screen, mouse, and keyboard. Evaluation details are described here ( https://cdn.openai.com/cua/CUA_eval_extra_information.pdf ) Browser use WebArena⁠( https://arxiv.org/abs/2307.13854 ) and WebVoyager⁠( https://arxiv.org/abs/2401.13919 ) are designed to evaluate the performance of web browsing agents in completing real-world tasks using browsers. WebArena utilizes self-hosted open-source websites offline to imitate real-world scenarios in e-commerce, online store content management (CMS), social forum platforms, and more. WebVoyager tests the model’s performance on online live websites like am*zon, GitHub, and Google Maps. In these benchmarks, CUA sets a new standard using the same universal interface that perceives the browser screen as pixels and takes action through mouse and keyboard. CUA achieved a 58.1% success rate on WebArena and an 87% success rate on WebVoyager for web-based tasks. While CUA achieves a high success rate on WebVoyager, where most tasks are relatively simple, CUA still needs more improvements to close the gap with human performance on more complex benchmarks like WebArena. Computer use OSWorld⁠( https://arxiv.org/abs/2404.07972 ) is a benchmark that evaluates models’ ability to control full operating systems like Ubuntu, Windows, and macOS. In this benchmark, CUA achieves 38.1% success rate. We observed test-time scaling, meaning CUA’s performance improves when more steps are allowed. The figure below compares CUA’s performance with previous state-of-the-arts with varying maximum allowed steps. Human performance on this benchmark is 72.4%, so there is still significant room for improvement. The following visualizations show examples of CUA navigating a variety of standardized OSWorld tasks. CUA in Operator We’re making CUA available through a research preview of Operator, an agent that can go to the web to perform tasks for you. Operator is available to Pro users in the U.S. at operator.chatgpt.com⁠(opens in a new window). This research preview is an opportunity to learn from our users and the broader ecosystem, refining and improving Operator iteratively. As with any early-stage technology, we don’t expect CUA to perform reliably in all scenarios just yet. However, it has already proven useful in a variety of cases, and we aim to extend that reliability across a wider range of tasks. By releasing CUA in Operator, we hope to gather valuable insights from our users, which will guide us in refining its capabilities and expanding its applications. In the table below, we present CUA’s performance in Operator on a handful of trials given a prompt to illustrate its known strengths and weaknesses. Category Prompt Success / attempts Note Interacting with various UI components to accomplish tasks Turn 1: Search Britannica for a detailed map view of bear habitats Turn 2: Great! Now please check out the black, brown and polar bear links and provide a concise general overview of their physical characteristics, specifically their differences. Oh and save the links for me so I can access them quickly. 10 / 10 View trajectory CUA can interact with various UI components to search, sort, and filter results to find the information that users want. Reliability varies for different websites and UIs. I want one of those target deals. Can you check if they have a deal on poppi prebiotic sodas? If they do, I want the watermelon flavor in the 12fl oz can. Get me the type of deal that comes with this and check if it's gluten free. 9 / 10 View trajectory I am planning to shift to Seattle and I want you to search Redfin for a townhouse with at least 3 bedrooms, 2 bathrooms, and an energy-efficient design (e.g., solar panels or LEED-certified). My budget is between $600,000 - $800,000 and it should ideally be close to 1500 sq ft. 3 / 10 View trajectory Tasks that can be accomplished through repeated simple UI interactions Create a new project in Todoist titled 'Weekend Grocery Shopping.' Add the following shopping list with products: Bananas (6 pieces) Avocados (2 ripe) Baby Spinach (1 bag) Whole Milk (1 gallon) Cheddar Cheese (8 oz block) Potato Chips (Salted, family size) Dark Chocolate (70% cocoa, 2 bars) 10 / 10 View trajectory CUA can reliably repeat simple UI interaction multiple times to automate simple, but tedious tasks from users. Search Spotify for the most popular songs of the USA for the 1990s, and create a playlist with at least 10 tracks. 10 / 10 View trajectory Tasks where CUA shows a high success rate only if prompts include detailed hints on how to use the website. Visit tagvenue.com and look for a concert hall that seats 150 people in London. I need it on Feb 22 2025 for the entire day from 9 am to 12 am, just make sure it is under £90 per hour. Oh could you check the filters section for appropriate filters and make sure there is parking and the entire thing is wheelchair accessible. 8 / 10 View trajectory Even for the same task, CUA’s reliability might change depending on how we are prompting the task. In this case, we can improve the reliability by providing specifics of date (e.g. 9 am to 12am vs entire day from 9 am), and by providing hints on which UI should be used to find results (e.g. check the filters section …) Visit tagvenue.com and look for a concert hall that seats 150 people in London. I need it on Feb 22 2025 for the entire day from 9 am, just make sure it is under £90 per hour. Oh and make sure there is parking and the entire thing is wheelchair accessible. 3 / 10 Struggling to use unfamiliar UI and text editing Use html5editor and input the folowing text on the left side, then edit it following my instructions and give me a screenshot of the entire thing when done. The text is: Hello world! This is my first text. I need to see how it would look like when programmed with HTML. Some parts should be red. Some bold. Some italic. Some underlined. Until my lesson is complete, and we shift to the other side. ... Hello world! should have header 2 applied The sentence below it should be a regular paragraph text. The sentence mentioning red should be normal text and red The sentence mentionnihg bold should be normal text bolded Sentence mentioning italic should be italicized The final sentence should be aligned to the right instead of the usual left 4 / 10 View trajectory When CUA has to interact with UIs that it hasn't interacted much with during training, it struggles to figure out how to use the provided UI appropriately. It often results in lots of trial and errors, and inefficient actions. CUA is not precise at text editing. It often makes lots of mistakes in the process or provides output with error. Safety Because CUA is one of our first agentic products with an ability to directly take actions in a browser, it brings new risks and challenges to address. As we prepared for deployment of Operator, we did extensive safety testing and implemented mitigations across three major classes of safety risks: misuse, model mistakes, and frontier risks. We believe it is important to take a layered approach to safety, so we implemented safeguards across the whole deployment context: the CUA model itself, the Operator system, and post-deployment processes. The aim is to have mitigations that stack, with each layer incrementally reducing the risk profile. The first category of risk is misuse. In addition to requiring users to comply with our Usage Policies, we have designed the following mitigations to reduce Operator’s risk of harm due to misuse, building off our safety work for GPT‑4o( https://openai.com/index/gpt-4o-system-card/ ) : Refusals: The CUA model is trained to refuse many harmful tasks and illegal or regulated activities. Blocklist: Operator cannot access websites that we’ve preemptively blocked, such as many gambling sites, adult entertainment, and drug or gun retailers. Moderation: User interactions are reviewed in real-time by automated safety checkers that are designed to ensure compliance with Usage Policies and have the ability to issue warnings or blocks for prohibited activities. Offline detection: We’ve also developed automated detection and human review pipelines to identify prohibited usage in priority policy areas, including child safety and deceptive activities, allowing us to enforce our Usage Policies. The second category of risk is model mistakes, where the CUA model accidentally takes an action that the user didn’t intend, which in turn causes harm to the user or others. Hypothetical mistakes can range in severity, from a typo in an email, to purchasing the wrong item, to permanently deleting an important document. To minimize potential harm, we’ve developed the following mitigations: User confirmations: The CUA model is trained to ask for user confirmation before finalizing tasks with external side effects, for example before submitting an order, sending an email, etc., so that the user can double-check the model’s work before it becomes permanent. Limitations on tasks: For now, the CUA model will decline to help with certain higher-risk tasks, like banking transactions and tasks that require sensitive decision-making. Watch mode: On particularly sensitive websites, such as email, Operator requires active user supervision, ensuring users can directly catch and address any potential mistakes the model might make. One particularly important category of model mistakes is adversarial attacks on websites that cause the CUA model to take unintended actions, through prompt injections, jailbreaks, and phishing attempts. In addition to the aforementioned mitigations against model mistakes, we developed several additional layers of defense to protect against these risks: Cautious navigation: The CUA model is designed to identify and ignore prompt injections on websites, recognizing all but one case from an early internal red-teaming session. Monitoring: In Operator, we’ve implemented an additional model to monitor and pause execution if it detects suspicious content on the screen. Detection pipeline: We’re applying both automated detection and human review pipelines to identify suspicious access patterns that can be flagged and rapidly added to the monitor (in a matter of hours). Finally, we evaluated the CUA model against frontier risks outlined in our Preparedness Framework⁠(https://cdn.openai.com/openai-preparedness-framework-beta.pdf ), including scenarios involving autonomous replication and biorisk tooling. These assessments showed no incremental risk on top of GPT‑4o. For those interested in exploring the evaluations and safeguards in more detail, we encourage you to review the Operator System Card, a living document that provides transparency into our safety approach and ongoing improvements. As many of Operator’s capabilities are new, so are the risks and mitigation approaches we’ve implemented. While we have aimed for state-of-the-art, diverse and complementary mitigations, we expect these risks and our approach to evolve as we learn more. We look forward to using the research preview period as an opportunity to gather user feedback, refine our safeguards, and enhance agentic safety. Conclusion CUA builds on years of research advancements in multimodality, reasoning and safety. We have made significant progress in deep reasoning through the o-model series, vision capabilities through GPT‑4o, and new techniques to improve robustness through reinforcement learning and instruction hierarchy( https://openai.com/index/the-instruction-hierarchy/ ). The next challenge space we plan to explore is expanding the action space of agents. The flexibility offered by a universal interface addresses this challenge, enabling an agent that can navigate any software tool designed for humans. By moving beyond specialized agent-friendly APIs, CUA can adapt to whatever computer environment is available—truly addressing the “long tail” of digital use cases that remain out of reach for most AI models. We're also working to make CUA available in the API⁠(https://platform.openai.com/ ), so developers can use it to build their own computer-using agents. As we continue to iterate on CUA, we look forward to seeing the different use cases the community will discover. We plan to use the real-world feedback we gather from this early preview to continuously refine CUA’s capabilities and safety mitigations to safely advance our mission of distributing the benefits of AI to everyone. Authors OpenAI References Introducing computer use, a new Claude 3.5 Sonnet, and Claude 3.5 Haiku⁠(https://www.anthropic.com/news/3-5-models-and-computer-use ) Model Card Addendum: Claude 3.5 Haiku and Upgraded Claude 3.5 Sonnet⁠( https://assets.anthropic.com/m/1cd9d098ac3e6467/original/Claude-3-Model-Card-October-Addendum.pdf ) Kura WebVoyager benchmark⁠(https://www.trykura.com/benchmarks ) Google project mariner⁠( https://deepmind.google/technologies/project-mariner/ ) OSWorld: Benchmarking Multimodal Agents for Open-Ended Tasks in Real Computer Environments⁠(https://os-world.github.io/ ) WebVoyager: Building an End-to-End Web Agent with Large Multimodal Models⁠(https://arxiv.org/abs/2401.13919 ) WebArena: A Realistic Web Environment for Building Autonomous Agents⁠( https://webarena.dev/ ) Citations Please cite OpenAI and use the following BibTeX for citation: http://cdn.openai.com/cua/cua2025.bib URL https://openai.com/index/computer-using-agent/ OpenAI’s new AI browser could rival Perplexity — here’s what I hope it gets right Story by Amanda Caswell OpenAI is building a brand-new web browser, and it could completely change how we search, browse and get things done online. According to recent leaks and an exclusive report from Reuters, the company behind ChatGPT is working on a Chromium-based browser that integrates AI agents directly into your browsing experience. Internally codenamed “Operator,” this new browser is expected to go far beyond search to offer smart, memory-equipped agents that can summarize pages, complete actions (like booking travel) and eventually handle full web-based tasks for you. If this sounds like Perplexity’s Comet, you’re right. The recently launched AI-powered browser integrates search and sidebar answers directly into the page. OpenAI’s browser will likely compete with Chrome and Comet, but hasn’t launched yet. It’s rumored to be rolling out first to ChatGPT Plus subscribers in the U.S. as part of an early beta, possibly later this summer. As someone who tests AI tools for a living, I’ve tried nearly every smart assistant and search engine on the market. And while Perplexity’s Comet offers a solid first look at the future of AI browsing, here’s what I’m most excited for from OpenAI’s take, and what I hope it gets right. 1. A truly proactive browsing assistant Perplexity is great at answering questions. But what I want from OpenAI’s browser is something more autonomous; an assistant that doesn't just wait for a prompt but actively enhances the page I'm on. Imagine browsing am*zon and having the assistant automatically suggest product comparisons or pull in real reviews from Reddit. Or reading a news article and instantly seeing a timeline, source context and differing viewpoints, but with zero prompting. That level of proactive help could turn passive browsing into intelligent discovery and I’m totally here for it. 2. Built-in agents that take action OpenAI’s “Operator” agents are rumored to handle full tasks beyond search or summarization. For instance, filling out forms, booking tickets or handling customer service chats will all be done for you. If that’s true, it’s a major leap forward. While Perplexity’s Comet is great for pulling in answers, OpenAI’s approach may introduce a new category of browser-based automation powered by memory, context and reasoning. 3. Cleaner answers, better sources Let’s be honest: search engines today are filled with AI-generated slop, vague product listicles, SEO junk and misleading clickbait. Perplexity tries to solve this by pulling answers from verified sources and citing them in real time. OpenAI could go even further, drawing from its own training data and web browsing capabilities to offer cleaner, more nuanced summaries with source-level transparency. If they can combine the conversational intelligence of ChatGPT with web accuracy, it could help reverse the search spam crisis. 4. One tab to rule them all If OpenAI’s browser integrates with ChatGPT’s existing multimodal tools, including everything from image generation to spreadsheet analysis and file uploads, it could become the first true all-in-one productivity browser. That would give creators, students and professionals a seamless way to write, code, search, design and automate within one interface. The bottom line Perplexity’s Comet browser is a strong first step toward smarter web browsing. But OpenAI’s rumored browser has the potential to go further by offering a more intelligent, personalized and action-ready browsing experience. I’ll be watching closely for the beta invite to drop. And if it delivers on the promise of proactive agents, real web automation and a cleaner, more useful internet, this could be the most exciting browser launch since Chrome. URL https://www.msn.com/en-us/news/technology/openai-s-new-ai-browser-could-rival-perplexity-here-s-what-i-hope-it-gets-right/ar-AA1Iou29?ocid=BingNewsSerp
  15. @Pioneer1 No one I have ever communicated with ever said the following In my mind documentaries are movies, thank you, as an artist, I will ponder your words. It wasn't this I just think spike lee is not a good actor and he hurts films.
  16. FOR AALBC ANTAGONIST The Untouchable World, the overwhelming majority of the world. It is sparsely speckled by Urban Commands. An expanse that has developed in unknown ways to the Urbaners and because of that has unknown dangers. An expanse that is the home to Untouchables, lineages of many species plant or animal or fungus mutated by the Tactile Virus; said Untouchables are now immune to the Tactile Virus through herd immunity and sometimes make up the landscape, sometimes live in it. The awareness or purpose of Untouchable species are not catalogued, listed, or usually comprehended by Urbaners. The Tactile Virus is carried by all in the Untouchable World and thus makes the Untouchable World dangerous to any who have not been infected which is most Urbaners and every Urbaner of Urban Command 259. The Untouchable world has Roamers, mysterious figures whose identity, allegiance, purposes are usually unknown to Urbaners or Untouchables alike making them a danger to both. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850 forum post https://aalbc.com/tc/topic/11729-a-story-for-aalbc-part-3/ FOR Black Artist Of Tumblr ANTAGONIST An unknown middle aged European individual,who is very concerned about exposure, is watching the events in HArlem for their own agenda. They will use and manipulate or hinder the following set of antagonist to achieve their goal. The Genovese crime family that governs most of Manhattan, including Harlem, wants control of the new drug from Harlem. It is led by Eboli, the current capo. Eboli has put Lombardo in charge, Lombardo worked his way from soldier to a junior capo. Lombardo has experience working around Harlem. Pfizer has a new CEO in John Powers jr and he has constructed a new office downtown Manhattan. Pfizer has taken an economic hit recently and he wants to regain momentum lost. He wants everything about the illegal drug in Harlem for Pfizer. Johnson and Johnson in New Jersey have a new CEO Philip B Hofmann who has started his tenure with success and wants to squeeze pharmaceutical rivals. He wants everything about the illegal drug in Harlem for Johnson and Johnson. The NYPD have suffered a blow with the end of Tammany Hall by mayor Robert Wagner jr and want a greater cut of the new illegal drug market in Harlem. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850 Community Post https://www.tumblr.com/communities/black-artist-on-tjambler/post/789290107159134208/a-story-for-black-artist-of-tumblr-03?source=share FOR MidnightHour ANTAGONIST Sergeant Erica , a burlesque swordswoman. Uses the NYC code of conduct to battle burlesque to acquire the adoration of the most people sequentially, winning the right for her laws to be implemented. In her sixties, she is very experienced in managing the biggest contingents of fans in the city, from the financial well to do or law enforcement. She uses a foil. Is a standard performer. Performing to retain the laws she won in a prior Battle Royal. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850 Community Post https://www.tumblr.com/communities/midnight-hour/post/789290513756979200/a-story-for-midnighthour-part-3?source=share FOR Film Noir Pigeons ANTAGONIST An unknown has committed a crime. The potential culprits are: Someone at the exchange, the only exchange where cyptocurrency can be exchanged for dollars. A teller or the manager. Father Pedro, a catholic clergyman who publicly protests the second non proliferation treaty as inhumane. A former realtor for the Corcoran group who never recovered the losses from the abrupt move to the SNDT and lives indebted with anger. A doctor just back from a profitable vacation in the The female courier from brazil the cryptocracker from nyc referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850 Community Post https://www.tumblr.com/communities/filmnoirpigeons/post/789291414477471744/a-story-for-film-noir-pigeons-part-3?source=share Part 1 https://aalbc.com/tc/events/event/403-community-stories-001-part-1/ Part 2 https://aalbc.com/tc/events/event/407-community-stories-001-part-2/ part 3 https://aalbc.com/tc/events/event/408-community-stories-001-part-3/
  17. I am part of a writing community outside AALBC but a recent challenge made me consider using it to push a story in AALBC. This is the antagonist ANTAGONIST The Untouchable World, the overwhelming majority of the world. It is sparsely speckled by Urban Commands. An expanse that has developed in unknown ways to the Urbaners and because of that has unknown dangers. An expanse that is the home to Untouchables, lineages of many species plant or animal or fungus mutated by the Tactile Virus; said Untouchables are now immune to the Tactile Virus through herd immunity and sometimes make up the landscape, sometimes live in it. The awareness or purpose of Untouchable species are not catalogued, listed, or usually comprehended by Urbaners. The Tactile Virus is carried by all in the Untouchable World and thus makes the Untouchable World dangerous to any who have not been infected which is most Urbaners and every Urbaner of Urban Command 259. The Untouchable world has Roamers, mysterious figures whose identity, allegiance, purposes are usually unknown to Urbaners or Untouchables alike making them a danger to both. PART 2 https://aalbc.com/tc/topic/11728-a-story-for-aalbc-part-2/ referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850
  18. FOR AALBC PROTAGONIST Unknown name is a married midde aged man, of the Utility Farmer, many consider the best cook in the command; his wife is a multiutility Farmer+Entertainer, she makes street art. His wife side him have two children. One, a boy, is an Initiate, while the other, a girl, is in the Kindergarten. Their male child's teachers say he is talented in all utilities. While the teachers say their female child has a comforting touch of a healer. He has never ventured outside the Command, nor is he a great fighter. Loyal to the chain of command. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-2-Protagonist-1212132548 forum post https://aalbc.com/tc/topic/11728-a-story-for-aalbc-part-2/ FOR Black Artist Of Tumblr PROTAGONIST Unknown name is a Black Swede, in his thirties, who runs a drug dealing outfit in Harlem in Manhattan in NYC in the 1960s. It operates in the domain of the Genovese crime family of the Five Families. The outfit is making so much money, they have an arrangement with a former local rival, Copeland's gang , to run all the numbers and dice and other gambling in Harlem if they support the outfit when called. The Black Swede know English/Swedish/German/Latin. Fully trust his lieutenants because he has to regardless if he wants. Has ambitions for the outfit but doesn't let ambition deny a modern situation or create a faulty strategy. His lieutenants are A white Swedish former maid he has known for years. Don't know her relationship to Black Swede yet. Tex and Sug, an old black couple, Tex does accounting for the outfit while Sug is a school teacher, hired by Richard Green, the first Black school chancellor of NYC , hired by Robert Wagner. Stephanie and Bump- two former rulers of Black underground life in harlem, now silverhaired and a reunited coupe, but financiers to the outfit,and are positively connected to all the churches or other places of worship in Harlem alongside all the community advocates from Garveyites to NAACP members or Black Panthers for Self Defense. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-2-Protagonist-1212132548 Community Post https://www.tumblr.com/communities/black-artist-on-tjambler/post/789288537445089280/a-story-for-black-artist-of-tumblr-02 FOR MidnightHour PROTAGONIST Socialist Ama , a burlesque swordswoman. Uses the NYC code of conduct to battle burlesque to acquire the adoration of the most people sequentially, winning the right for her laws to be implemented. In her early thirties, she is ready to fight. She uses radical burlesque techniques which are fan favorites for the youngest voters. Flamboyant in all things. She uses a foil sword. Performing for socialist causes to finally get their due in the city. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-2-Protagonist-1212132548 Community Post https://www.tumblr.com/communities/midnight-hour/post/789288897647673344/a-story-for-midnighthour-part-2?source=share FOR Film Noir Pigeons PROTAGONIST Unknown name is a cryptocracker, a private detective for crypto cases in a Universal Basic Income (UBI( country. He lives in New York City (NYC) the only city in the world where crypto currencies can be exchanged for dollar currency. Black man, between late thirties to early forties, unmarried. He lives with his parents in an apartment. He has past experience with a woman, black, late thirties to early forties; she is a female courier from Brasil who makes transaction of crypto currencies into us dollars. His secretary is a woman, black, mocha complexion, married to a scholar who is an ardent supporter of the second non proliferation treaty SNPT for the advantages it will give their children. He drinks tea. For alcohol he likes Hot Sex from Bartender's Trading. He rides a custom Citroen DS Décapotable Cabriolet d'Usine Electrogenic. referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-2-Protagonist-1212132548 Community Post https://www.tumblr.com/communities/filmnoirpigeons/post/789289180915204096/a-story-for-film-noir-pigeons-part-2?source=share Part 1 https://aalbc.com/tc/events/event/403-community-stories-001-part-1/ Part 2 https://aalbc.com/tc/events/event/407-community-stories-001-part-2/ part 3 https://aalbc.com/tc/events/event/408-community-stories-001-part-3/
  19. I am part of a writing community outside AALBC but a recent challenge made me consider using it to push a story in AALBC. This is the protagonist PROTAGONIST Unknown name is a married midde aged man, of the Utility Farmer, many consider the best cook in the command; his wife is a multiutility Farmer+Entertainer, she makes street art. His wife side him have two children. One, a boy, is an Initiate, while the other, a girl, is in the Kindergarten. Their male child's teachers say he is talented in all utilities. While the teachers say their female child has a comforting touch of a healer. He has never ventured outside the Command, nor is he a great fighter. Loyal to the chain of command. PART 1 https://aalbc.com/tc/topic/11724-a-story-for-aalbc-part-1/ referral to contest https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-2-Protagonist-1212132548
  20. Example https://www.deviantart.com/hddeviant/art/My-Antagonist-for-part-3-of-the-4-part-challenge-1218771253 Extended Example https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Extended-antagonist-1214202381 Challenge https://www.deviantart.com/hddeviant/journal/Writing-Challenge-Part-3-Antagonist-1212132850 PRAISE from Remivan [ https://www.deviantart.com/remivan ] Thank you for this incredibly detailed and helpful "tutorial" on crafting antagonists! While I’m unable to participate in the challenge (as I use AI in my writing process, which goes against the rules), I found the insights truly invaluable. You’ve given me a new perspective on my story analytics. Some pieces reach tens of thousands of views, yet engagement (likes/favorites) remains quite modest. It made me wonder: could the lack of a strong, well-defined antagonist-driven conflict be a factor? Honestly, I rarely use this trope intentionally—even in real life, I don’t tend to see clear-cut ‘villains,’ just complex human motivations. But your breakdown—especially distinguishing an antagonist’s goal (their core desire) from their role (actions taken to achieve it, including opposing the protagonist)—was revelatory! I’ll consciously integrate this technique into future stories and tune my LLMs to craft deeper, motivationally grounded antagonists using your guidelines (tying them to the setting, profession, and personal aims). A question for the tutorial creators or community: Are there specialized frameworks, system prompts, or best practices for writers like me who use AI assistance? Anything to help weave character-building techniques (like antagonist development) into collaborative human-AI workflows to strengthen narrative conflict? I’d deeply appreciate any tips or resources! Thanks again for this installment—immensely inspiring, even as a non-participant! https://www.deviantart.com/comments/1/1212132850/5224464795
  21. Today we pause to remember the life of Sandra Bland, who was jailed after a traffic stop and found deceased in her cell in 2015. Sandra Bland was pulled over in TX for failing to signal by a State Trooper and arrested. Three days later, she was gone, and her death was ruled a suicide. The county sheriff and jail staff were not indicted for her death. Bland was a civil rights activist and outspoken about police brutality against the Black community. We mourn the loss of her voice, and we hold the tragedy of her passing with her friends, family, and loved ones. february 7th 1987 july 13th 2015
  22. Today we pause to remember the life of Sandra Bland, who was jailed after a traffic stop and found deceased in her cell in 2015. Sandra Bland was pulled over in TX for failing to signal by a State Trooper and arrested. Three days later, she was gone, and her death was ruled a suicide. The county sheriff and jail staff were not indicted for her death. Bland was a civil rights activist and outspoken about police brutality against the Black community. We mourn the loss of her voice, and we hold the tragedy of her passing with her friends, family, and loved ones. february 7th 1987 july 13th 2015
  23. July 14 Saturn appear stationary 15 Center of Moon and Center of Earth on Earth's equatorial axis. Moon from south to north of the Sun's path in the sky, the ecliptic 16 Saturn Moon conjunction; Neptune Moon conjunction 17 Mercury appear stationary ; 1850 Vega first star photographed other than the sun. [ July 17, 1850 The first photograph of a star is taken at the Harvard Observatory. The star photographed was Vega in the Lyra constellation, the 2nd brightest star in the Northern Hemisphere. ; https://thisdayintechhistory.com/07/17/first-photograph-of-a-star/] [Vega was the northern pole star around 12000 BCE and will be so again around the year 13724, when its declination will be +84° 14′, less than six degrees from the Pole. ; https://stellarium.org/] ["On the night of July 16–17, 1850, Whipple and Bond made the first daguerreotype of a star (Vega)" ; https://en.wikipedia.org/wiki/Vega] 19 Jim Aparo spirit flew 2005 , he penciled the well known comic "A Death In the Family" [ https://en.wikipedia.org/wiki/A_Death_in_the_Family_(comics); https://en.wikipedia.org/wiki/Batman:_Knightfall] RM WORK CALENDAR Aphelion BlackGamesElite Deviantart Watching Search Making a Protagonist Alien-queen77's OC Deimyn Thoughts to Spike Lee's work Community Stories 001 part 1 CENTO Series episode 112 https://aalbc.com/tc/events/5-rmworkcalendar/week/2025-07-12/ RM COMMUNITY CALENDAR The legend of Pearline Sinners Review from Movies That Move We Hercules, Disney's Beautiful Hot Mess Billy Eckstine Michael B Jordan's Thomas Crown Ask Eddie with Eddie Mueller +Jennifer Tilly KWL Live with Ruthie Bowles+ Tara Cremin Outsidethebeautybox goodbye skype Kidowaum https://aalbc.com/tc/events/7-rmcommunitycalendar/week/2025-07-12/
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