Every year, thousands of product vendors, journalists, and gadget enthusiasts gather in an unreasonable city to gawk at mostly unrealistic products.

To be of service to our readers, Ars has done the work of looking through hundreds of such items presented at the 2025 Consumer Electronic Show, pulling out the most bizarre, unnecessary, and head-scratching items. Andrew Cunningham swept across PC and gaming accessories . This writer has stuck to goods related to the home.

It's a lie to say it's all a prank, so I snuck in a couple of actually good things for human domiciles announced during CES. But the stuff you'll want to tell your family and friends about in mock disbelief? Plenty of that, still.

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Every year, thousands of product vendors, journalists, and gadget enthusiasts gather in an unreasonable city to gawk at mostly unrealistic products.

To be of service to our readers, Ars has done the work of looking through hundreds of such items presented at the 2025 Consumer Electronic Show, pulling out the most bizarre, unnecessary, and head-scratching items. Andrew Cunningham swept across PC and gaming accessories . This writer has stuck to goods related to the home.

It's a lie to say it's all a prank, so I snuck in a couple of actually good things for human domiciles announced during CES. But the stuff you'll want to tell your family and friends about in mock disbelief? Plenty of that, still.

Read full article

Comments

Every year, thousands of product vendors, journalists, and gadget enthusiasts gather in an unreasonable city to gawk at mostly unrealistic products.

To be of service to our readers, Ars has done the work of looking through hundreds of such items presented at the 2025 Consumer Electronic Show, pulling out the most bizarre, unnecessary, and head-scratching items. Andrew Cunningham swept across PC and gaming accessories . This writer has stuck to goods related to the home.

It's a lie to say it's all a prank, so I snuck in a couple of actually good things for human domiciles announced during CES. But the stuff you'll want to tell your family and friends about in mock disbelief? Plenty of that, still.

Read full article

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While worrying about AI takeover might seem like a modern idea that sprung from War Games or The Terminator , it turns out that a similar concern about machine dominance dates back to the time of the American Civil War, albeit from an English sheep farmer living in New Zealand. Theoretically, Abraham Lincoln could have read about AI takeover during his lifetime.

On June 13, 1863, a letter published in The Press newspaper of Christchurch warned about the potential dangers of mechanical evolution and called for the destruction of machines, foreshadowing the development of what we now call artificial intelligence—and the backlash against it from people who fear it may threaten humanity with extinction. It presented what may be the first published argument for stopping technological progress to prevent machines from dominating humanity.

Titled "Darwin among the Machines," the letter recently popped up again on social media thanks to Peter Wildeford of the Institute for AI Policy and Strategy . The author of the letter, Samuel Butler, submitted it under the pseudonym Cellarius, but later came to publicly embrace his position. The letter drew direct parallels between Charles Darwin's theory of evolution and the rapid development of machinery, suggesting that machines could evolve consciousness and eventually supplant humans as Earth's dominant species.

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While worrying about AI takeover might seem like a modern idea that sprung from War Games or The Terminator , it turns out that a similar concern about machine dominance dates back to the time of the American Civil War, albeit from an English sheep farmer living in New Zealand. Theoretically, Abraham Lincoln could have read about AI takeover during his lifetime.

On June 13, 1863, a letter published in The Press newspaper of Christchurch warned about the potential dangers of mechanical evolution and called for the destruction of machines, foreshadowing the development of what we now call artificial intelligence—and the backlash against it from people who fear it may threaten humanity with extinction. It presented what may be the first published argument for stopping technological progress to prevent machines from dominating humanity.

Titled "Darwin among the Machines," the letter recently popped up again on social media thanks to Peter Wildeford of the Institute for AI Policy and Strategy . The author of the letter, Samuel Butler, submitted it under the pseudonym Cellarius, but later came to publicly embrace his position. The letter drew direct parallels between Charles Darwin's theory of evolution and the rapid development of machinery, suggesting that machines could evolve consciousness and eventually supplant humans as Earth's dominant species.

Read full article

Comments

While worrying about AI takeover might seem like a modern idea that sprung from War Games or The Terminator , it turns out that a similar concern about machine dominance dates back to the time of the American Civil War, albeit from an English sheep farmer living in New Zealand. Theoretically, Abraham Lincoln could have read about AI takeover during his lifetime.

On June 13, 1863, a letter published in The Press newspaper of Christchurch warned about the potential dangers of mechanical evolution and called for the destruction of machines, foreshadowing the development of what we now call artificial intelligence—and the backlash against it from people who fear it may threaten humanity with extinction. It presented what may be the first published argument for stopping technological progress to prevent machines from dominating humanity.

Titled "Darwin among the Machines," the letter recently popped up again on social media thanks to Peter Wildeford of the Institute for AI Policy and Strategy . The author of the letter, Samuel Butler, submitted it under the pseudonym Cellarius, but later came to publicly embrace his position. The letter drew direct parallels between Charles Darwin's theory of evolution and the rapid development of machinery, suggesting that machines could evolve consciousness and eventually supplant humans as Earth's dominant species.

Read full article

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In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

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In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

Read full article

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In 2019, astronomer Britt Lundgren of the University of North Carolina Asheville visited the Guggenheim Museum in New York City to take in an exhibit of the works of Swedish painter Hilma af Klint . Lundgren noted a striking similarity between the abstract geometric shapes in af Klint's work and scientific diagrams in 19th century physicist Thomas Young 's Lectures (1807). So began a four-year journey starting at the intersection of science and art that has culminated in a forthcoming paper in the journal Leonardo, making the case for the connection.

Af Klint was formally trained at the Royal Academy of Fine Arts and initially focused on drawing, portraits, botanical drawings, and landscapes from her Stockholm studio after graduating with honors. This provided her with income, but her true life's work drew on af Klint's interest in spiritualism and mysticism. She was one of "The Five," a group of Swedish women artists who shared those interests. They regularly organized seances and were admirers of theosophical teachings of the time.

It was through her work with The Five that af Klint began experimenting with automatic drawing, driving her to invent her own geometric visual language to conceptualize the invisible forces she believed influenced our world. She painted her first abstract series in 1906 at age 44. Yet she rarely exhibited this work because she believed the art world at the time wasn't ready to appreciate it. Her will requested that the paintings stay hidden for at least 20 years after her death.

Read full article

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