AI ‘Agents' Aren't Matching Up to the Buzzwords
Most often, it's used to describe an AI system that can act autonomously and work with outside applications to complete increasingly complicated tasks. The buzziest example from Asia has been Manus, which went mega-viral earlier this year. But it's also morphed into a marketing buzzword, slapped onto everything from products that surf the web on their own to bots that will eventually achieve human decision-making skills — and could be coming for your job. In China, where reports of a new agentic tool seem to emerge every week, some firms have been accused of labeling their products AI agents just to capitalize on the hype.
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WIRED
a minute ago
- WIRED
I Went to an AI Film Festival Screening and Left With More Questions Than Answers
Aug 20, 2025 6:30 AM Runway AI paired up with Imax to screen 10 AI-generated winning selections. The festival has been derided by some cinephiles, while others insist it's part of a natural technological evolution. The AI Film Festival. Photograph: Mark Sommerfeld Last year, filmmaker Paul Schrader—the director of Blue Collar, American Gigolo , and First Reformed , and writer of Martin Scorsese's Taxi Driver —issued what seemed like the last word on artificial intelligence in Hollywood filmmaking. A few days after the release of Denis Villeneuve's sci-fi blockbuster Dune: Part Two , Schrader asked his Facebook followers: 'Will Dune 3 be made by AI? And, if it is, how will we know?' Schrader is well regarded not only as a director, but one of cinema's top-shelf curmudgeons, quick with a wry burn or baiting shit-post. But his Dune tweet seemed like more than another provocation. It spoke to a mounting feeling among many filmgoers, myself included: that Hollywood had stooped to producing sleek, antiseptic images so devoid of personality that they might as well have been made not by a living, breathing, thinking, feeling artist, but by a computer. Most generative AIs 'train' on existing troves of man-made images. With Dune , the opposite seemed true. It appeared as if Villeneuve was training on AI conjurations, screensavers, and glossy desktop wallpapers. (In fact, the film used 'machine learning' models to relatively modest ends.) Still, it got me thinking: Is there an actual AI aesthetic? Do video generators powered by AI share a set of artistic ideas, or values, common among their output? Or, even more basically, can AI video generators have ideas, or values, at all? My initial hunches here were … a) no; b) no; and c); no, of course an AI could not have 'ideas' or 'values,' which are the exclusive province of human artists, and human beings more generally. A toaster does not get a notion to warm up your bread or bagel, and then follow through with it. Nor does it care about how it does so. It merely executes a set of routinized, mechanized functions related to the warming (and eventual jettisoning) of breads, bagels, and other toastables. Why should generative AI be any different? To test these premises (and my own rather dismissive conclusions) I trekked to a theater in New York to take in a program of 10 short films from the 2025 AI Film Festival. The AI Film Festival is backed by Runway, a New York–based AI company offering 'tools for human imagination.' Among those tools are image and video generators allowing users to create characters, sets, lighting schemes, and whole immersive scenes. With its Gen-4 software, users can theoretically create a whole movie—or something vaguely approximating one, anyway. 'We were all frustrated filmmakers,' says Runway's cofounder, Alejandro Matamala Ortiz, of he and his partners, who met as grad students enrolled in the Interactive Telecommunications Program (ITP) at NYU's Tisch School for the Arts. 'We wanted to build the tools that we wanted to use.' The film festival was born of a further desire to help legitimize those same AI tools. A gala screening held earlier this summer at New York's prestigious Alice Tully Hall at the Lincoln Center (home to the New York Film Festival and year-round programming) saw filmmakers and technologists gather to watch the crème de la crème of a technology typically written off for producing mere 'slop.' The festival format, Ortiz says, serves to 'bring people together.' Now, that same gala program is touring Imax cinemas around the country, for a limited engagement. As with any billing of 10 shorts made by 10 different filmmakers, the quality is a bit scattershot. The program begins promisingly enough with Maddie Hong's Emergence, an immersive nature documentary 'shot' (and narrated) from the POV of a butterfly larvae hatching from a chrysalis. With its bold pastel color palette, the rotoscope animated More Tears Than Harm , by Herinarivo Rakotomanana, superficially evoked the work of American primitivist painter Horace Pippin (who is one of my favorite artists). Simon Reith's 6000 Lies is a rapid collage of gestating human fetuses, followed by a photo of a fetus burial site. In an abridged form, it might make an effective advertisement for a pro-life group. Indeed, if there was anything like an aesthetic sensibility shared by the films it was a sense of commercialized gloss: rapid-fire edits, satiny, photorealistic images. A few, like Riccardo Fusetti's Editorial and Vallée Duhamel's Fragments of Nowhere , played like perfume ads for a fragrance an android might wear. The lousiest of the bunch was an anime short called RŌHKI - A Million Trillion Pathways , credited to a filmmaker named Hachi and IO. Beyond being wholly derivative, it highlighted the rather obvious shortcomings of the technology, like characters' earlobes and shirt collars seemingly mutating in shape between scenes. One filmmaker in the audience, Robert Pietri, came away mostly impressed by what he saw. 'A couple of them were really pushing, and going where I think you should be going with this,' he says, 'which is creating a cinema that you can't create otherwise. I was excited by it.' He sees the weaker films as not being limited as much by the emerging AI toolkit but by the 'limitations of the creators.' An AI it seems, cannot render away bad ideas inputted by the human beings plugging in the prompts. Well, not yet, anyway. As something of a generative-AI skeptic, watching the program raised all kinds of questions. Some of these were pretty pedantic and boring. Like: Does standard movie theater etiquette (re: looking at one's cell phone) apply during an AI film fest? You could imagine a computer filmmaker might actually like to see another little computer, lighting up in the dark theater, as if approvingly. Other questions were a bit more existential—or, perhaps, ontological—relating to the very nature of so-called 'AI art.' Even when these films were entertaining or nice to look at, I couldn't help but feel a little tricked. Aren't those qualities mere impersonations of real films, painstakingly made by real people? And so, aren't even the 'good films' still fundamentally bad? There are other, less chin-stroking, considerations. Generative AI has drawn criticism for its massive draw on natural resources, with OpenAI CEO Sam Altman admitting that the proliferation of data centers is pretty much unsustainable without considerable developments in nuclear fusion. And AI's encroachment on certain creative fields has led to concerns about mass layoffs in the film and video game industries. Runway's Ortiz says he thinks of AI as similar to previous technological innovations rollicking creative fields. 'Technology has brought some disruption in the job market,' he says. 'But it also opens up new, new stuff.' The technologists and 'creatives' using and promoting these tools tend to frame the arrival of all this 'new, new stuff' as something of an inevitability. Phoenix-based filmmaker Jacob Adler, whose Total Pixel Space took top honors at the AI Film Festival, seems to follow a similar philosophical track. 'I am fascinated by the long arc of technological evolution that requires the flow of time, beginning with biological technologies such as self-replicating molecules, cell membranes, photosynthesis, nervous systems, eyes, brains, etc.,' Adler wrote in an email to WIRED. 'AI is not a departure from nature, but a continuation of the fundamental evolutionary trend of biology learning to build more complex information-processing systems, now outside its own flesh.' But flesh still has its defenders. The AI battle lines increasingly seem drawn in terms that are unreconcilable. So it comes as little surprise that skeptics, critics, and champions of the old ways have been decrying the AI Film Festival from day one. When Imax announced its partnership with Runway AI, responses among cinephiles were spiky. One X user replied,'Not watching anything made by clankers,' referencing the slur used to disparage robots in the Star Wars films. Actor Jared Gillman reposted Imax's announcement on X with an image of Ethan Hawke in a suicide vest from First Reformed with the caption, 'One ticket for the ai imax film festival please' (doubly appropriate, perhaps, considering Schrader's stated views on the technology). The commingling of Imax and AI seemed a particularly egregious offence. Imax, after all, is a corporation ostensibly dedicated to showcasing the theatrical cinematic experience at the grandest and most imposing scale. And AI is regarded as, well, something else entirely. As one especially withering Redditor put it, 'Imax and Runway AI Sign a Film Festival Deal to Show Dogshit.' AI's defenders (many of whom have a vested financial interest in the technology's success) love claiming that many great leaps forward in human artistry have been met with similar resistance. And they have a point—to a point. Digital filmmaking challenged analog, celluloid filmmaking. The introduction of sound and color technology in cinema was regarded, at first, as a mere gimmick. Even very early critics and academics fretted that photographic media like cinema could never be art, precisely because they merely represented reality, instead of interpreting it. With time, and plenty of counterargument, pretty much all these takes have been proven wrong. Adler's own prize-winning short (which earned him a $15,000 cash prize and 1 million Runway AI 'credits') is a thesis film on this very idea. Total Pixel Space explores the notion of a hypothetical universe of colored pixels, exploring what its narrator calls 'a process of discovery in which all of reality is already mapped.' OK. But is all of reality 'already mapped'? Is this technology merely being 'discovered,' as one might discover, say, a river or a cool restaurant? Or is it being invented, and managed, by actual people making actual decisions, which have actual consequences? Perhaps AI is just the latest disruptive innovation riling up the haters and fuddy-duddies. Or perhaps machine-generated art constitutes not just another step in cinematic-technologic evolution, but a fundamental break from the basic, taken-for-granted idea of what it is to make art: that it involves skill, tremendous patience, considerable talent and, at very least, a human being positioned as its prime mover. AI is a difference (or 'disruption') not of degree, but kind—not the next step in a process, but a totally different thing. Apples and computer-generated oranges. For Troy Petermann, a 15-year-old attending the New York screening of the Imax AI Film Festival with his family, AI is not a tool. It's a threat. 'AI is definitely an innovation,' says the aspiring filmmaker. 'But innovation is the drug of humanity. We never know how to stop when it goes too far.' Petermann's reflections are refreshing, in large part because generative AI technologies are so typically pushed to people in his exact demographic: wannabe filmmakers with big ideas but little in the way of tools, money, or institutional support. He admits that AI technology may have tremendous upside in terms of its 'analytical' capacities, like processing and synthesizing information. 'When it comes to creative aspects,' he says, 'we should just draw the line.' Increasingly, those lines are getting blurrier. The AI Film Festival earned such pointed cinephile scorn in part because it was easy to single out as a conscious enemy of the seventh art. Runway's Ortiz speculates that, for the festival's next installment, the company may change the branding altogether. 'I don't think it will remain the 'AI Film Festival,'' he says. 'We do think AI is just going to be part of any process. Similar to other companies. Everyone is an AI company, and will be using AI in some way. AI will become just another tool within filmmaking.'
Yahoo
29 minutes ago
- Yahoo
Taiwanese Mercuries Life Insurance reportedly explores sale
Taiwan's Mercuries Life Insurance is reportedly examining various strategic alternatives, including the possibility of a sale, reported Bloomberg, citing sources. The company, which is listed on the Taipei exchange, is said to be working with financial advisers to explore preliminary interest from potential buyers. The insurer's market valuation is reported to have decreased by 17% this year to around the $1bn (T$30.28bn) mark. The discussions are not limited to an outright sale; selling a partial stake in the company is another avenue being considered by Mercuries Life, the news agency said. However, the deliberations are in the early stages and may not necessarily result in a transaction. The company has come under the lens of the Taiwan Financial Supervisory Commission for not meeting certain regulatory requirements, specifically in relation to its capital-adequacy ratio. The regulator has mandated that the insurer must address these issues by the end of the current year, with a detailed plan due before the end of August. In reaction to queries from Bloomberg News, representatives from Mercuries Life indicated that the company is seeking ways to reinforce its capital base and is open to potential alliances within Taiwan and internationally. The company is considering all strategic options in this regard. While the company is open to international propositions, prospects from Chinese operators may encounter regulatory hurdles, as such acquisitions would need to clear multiple levels of government approval. Mercuries Life, established more than two decades ago and public since 2012, provides a variety of products encompassing life, health and accident insurance, as per information available on its official website. "Taiwanese Mercuries Life Insurance reportedly explores sale " was originally created and published by Life Insurance International, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site.
Yahoo
29 minutes ago
- Yahoo
HGC Appoints Argon Ho as Chief Commercial Officer of Group ICT Business
HONG KONG, CHINA / / August 20, 2025 / HGC Global Communications (" HGC" or the "Group "), a fully-fledged ICT service provider and network operator with extensive global coverage, today announced the appointment of Argon Ho as Chief Commercial Officer - Group ICT Business , with immediate effect. In this role, Argon will oversee the Group's ICT organisation and enhance ICT spread out - driving the Group horizontal growth across cybersecurity, digital solutions and cloud through AI, while pursuing project-based vertical penetration within existing accounts and into new markets, and concurrently expanding HGC's international footprint. Argon Ho, Chief Commercial Officer - Group ICT Business at HGC With over 30 years in ICT, Argon is a widely recognised leader in Greater China's technology market, especially in enterprise software and applications. His extensive expertise spans strategic planning, cyber security, and data governance. Prior to joining HGC, he honed through tenures as Managing Director of Check Point Software Technologies for the Greater China Region and General Manager at Cisco Hong Kong and Macau. Beyond his corporate achievements, Argon actively contributes to the community through advisory and directorial roles in organizations such as the Institute of Big Data Governance, the eHealth Consortium, and the Senior Citizen Home Safety Association, among others. In his new role, Argon will champion the growth of ICT business by accelerating the adoption of cutting-edge technologies, simplifying digital transformation for clients, and delivering AI empowered ICT solutions and platform that meet the evolving needs of mass market, corporate and SME customers. Argon will also support corporate customers in expanding their business overseas seamlessly by leveraging the Group's regional strengths. Additionally, he will drive the Group regional expansion by strengthening system integration and enhancing ICT and digital solutions locally and internationally. Andrew Kwok, Chief Executive Officer of HGC , said, "We are delighted to welcome Argon to HGC. His expertise and leadership will help advance our ICT strategies and support the Group's continuous growth in the region. Argon's appointment reinforces our focus on expanding our ICT business and achieving our goal of advancing global connectivity and innovation. We are confident that, under Argon's leadership, our ICT business will reach new heights, unlock future growth opportunities and further enhance our competitiveness in dynamic markets." Argon Ho, Chief Commercial Officer - Group ICT Business at HGC , said, "I am honored to join HGC and its dynamic and innovative team. Leveraging the Group's robust regional infrastructure, strong ecosystem partnerships, and pool of top talent, we are well-positioned to harness emerging technologies like AI to deliver customized ICT solutions that empower clients at every level on their digital transformation journey. Moving forwards, we will focus on AI integration, cybersecurity, and regional expansion, to drive the continued growth of our ICT business and reinforce HGC's reputation as a leading provider of innovative ICT solutions." About HGC Global Communications Limited HGC Global Communications Limited (HGC) is a leading Hong Kong and international telecom operator and ICT solution provider. The company owns an extensive network and infrastructure in Hong Kong and overseas and provides various kinds of services. HGC has 20 global offices and staff presence in 33 cities worldwide. It provides telecom infrastructure service to other operators and serves as a service provider to corporate and households. The company provides full-fledged telecom, data centre services, ICT solutions and broadband services for local, overseas, corporate, SME and mass markets. HGC owns and operates an extensive fibre-optic network, five cross-border telecom routes integrated into tier-one telecom operators in mainland China and connects with hundreds of world-class international telecom operators. The company is committed to further investing and enriching its current infrastructure and, in parallel, adding on top the latest technologies and developing its infrastructure services and solutions. In 2019, HGC Group completed the acquisition of Macroview Telecom Limited (Macroview), a leading digital technology solution and managed services provider. The addition of Macroview further accelerates HGC Group's digital transformation path and positioning as a pioneering ICT and digital services leader. HGC is a portfolio company of I Squared Capital, an independent global infrastructure investment manager focusing on energy, utilities, transport, social infrastructure, digital infrastructure, and environmental infrastructure in North America, Europe, Latin America and Asia. To learn more, please visit HGC's website at: Contact:Corporate Affairs and Public RelationsTel: +852 2128 5218 Email: pr@ SOURCE: HGC Global Communications View the original press release on ACCESS Newswire Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
