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Tampa General Hospital, USF developing artificial intelligence to monitor NICU baby’s pain in real-time

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Researchers are looking to use artificial intelligence to detect when a baby is in pain.

The backstory:

A baby’s cry is enough to alert anyone that something’s wrong. But for some of the most critical babies in hospital care, they can’t cry when they are hurting.

READ: FDA approves first AI tool to predict breast cancer risk

“As a bedside nurse, it is very hard. You are trying to read from the signals from the baby,” said Marcia Kneusel, a clinical research nurse with TGH and USF Muma NICU.

With more than 20 years working in the neonatal intensive care unit, Kneusel said nurses read vital signs and rely on their experience to care for the infants.

“However, it really, it’s not as clearly defined as if you had a machine that could do that for you,” she said.

MORE: USF doctor enters final year of research to see if AI can detect vocal diseases

Big picture view:

That’s where a study by the University of South Florida comes in. USF is working with TGH to develop artificial intelligence to detect a baby’s pain in real-time.

“We’re going to have a camera system basically facing the infant. And the camera system will be able to look at the facial expression, body motion, and hear the crying sound, and also getting the vital signal,” said Yu Sun, a robotics and AI professor at USF.

Yu heads up research on USF’s AI study, and he said it’s part of a two-year $1.2 million National Institutes of Health grant.

He said the study will capture data by recording video of the babies before a procedure for a baseline. Video will record the babies for 72 hours after the procedure, then be loaded into a computer to create the AI program. It will help tell the computer how to use the same basic signals a nurse looks at to pinpoint pain.

READ: These states are spending the most on health insurance, study shows

“Then there’s alarm will be sent to the nurse, the nurse will come and check the situation, decide how to treat the pain,” said Sun.

What they’re saying:

Kneusel said there’s been a lot of change over the years in the NICU world with how medical professionals handle infant pain.

“There was a time period we just gave lots of meds, and then we realized that that wasn’t a good thing. And so we switched to as many non-pharmacological agents as we could, but then, you know, our baby’s in pain. So, I’ve seen a lot of change,” said Kneusel.

Why you should care:

Nurses like Kneusel said the study could change their care for the better.

“I’ve been in this world for a long time, and these babies are dear to me. You really don’t want to see them in pain, and you don’t want to do anything that isn’t in their best interest,” said Kneusel.

MORE: California woman gets married after lifesaving surgery to remove 40-pound tumor

USF said there are 120 babies participating in the study, not just at TGH but also at Stanford University Hospital in California and Inova Hospital in Virginia.

What’s next:

Sun said the study is in the first phase of gathering the technological data and developing the AI model. The next phase will be clinical trials for real world testing in hospital settings, and it would be through a $4 million NIH grant, Sun said.

The Source: The information used in this story was gathered by FOX13’s Briona Arradondo from the University of South Florida and Tampa General Hospital.

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Artificial Intelligence (AI) In Beauty and Cosmetics Market

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Artificial Intelligence (AI) In Beauty and Cosmetics Market

The Artificial Intelligence (AI) in Beauty and Cosmetics market is expected to be valued at USD 3.9 billion in 2024 and is projected to reach approximately USD 17.1 billion by 2033, growing at a CAGR of around 17.9% from 2025 to 2033.

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The AI in Beauty and Cosmetics market is rapidly evolving as brands increasingly integrate smart technologies to enhance customer experiences and streamline operations. AI-powered tools such as virtual try-ons, personalized skincare recommendations, and AI-driven diagnostic tools are revolutionizing how consumers discover, select, and purchase beauty products. Companies are leveraging machine learning and facial recognition to deliver hyper-personalized solutions tailored to individual skin types, preferences, and concerns. E-commerce growth and rising demand for immersive shopping experiences are fueling AI adoption. Furthermore, AI is playing a key role in trend forecasting, inventory management, and product development, positioning it as a transformative force in the global beauty industry.

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L’Oréal Group, Procter & Gamble Co., Estée Lauder Companies Inc., Shiseido Company Limited, Unilever plc, LVMH Moët Hennessy Louis Vuitton, Coty Inc., Perfect Corp., Revieve Oy, and Olay (P&G).

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We’re Light-Years Away from True Artificial Intelligence, Says Murderbot Author Martha Wells

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Many people fear that if fully sentient machine intelligence ever comes to exist, it will take over the world. The real threat, though, is the risk of tech companies enslaving robots to drive up profits, author Martha Wells suggests in her far-future-set book series The Murderbot Diaries. In Wells’s world, machine intelligences inhabit spaceships and bots, and half-human, half-machine constructs offer humans protection from danger (in the form of “security units”), as well as sexual pleasure (“comfort units”). The main character, a security unit who secretly names itself Murderbot, manages to gain free will by hacking the module its owner company uses to enslave it. But most beings like it aren’t so lucky.

In Murderbot’s world, corporations control almost everything, competing among themselves to exploit planets and indentured labor. The rights of humans and robots often get trampled by capitalist greed—echoing many of the real-world sins Wells attributes to today’s tech companies. But just outside the company territory (called the “Corporation Rim”) is an independent planet named Preservation, a relatively free and peaceful society that Murderbot finds itself, against all odds, wanting to protect.

Now, with the TV adaptation Murderbot airing on Apple TV+, Wells is reaching a whole new audience. The show has won critical acclaim (and, at the time of writing, an audience rating of 96 percent on Rotten Tomatoes), and it is consistently ranked among the streamer’s most-watched series. It was recently renewed for a second season. “I’m still kind of overwhelmed by everything happening with the show,” Wells says. “It’s hard to believe.”


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Scientific American spoke to Wells about the difference between today’s AI and true machine intelligence, artificial personhood and neurodivergent robots.

[An edited transcript of the interview follows.]

The Corporation Rim feels so incredibly prescient, perhaps even more now than when you published the first book in the series in 2017.

Yes, disturbingly so. This corporate trend has kind of been percolating over the past 10 or 15 years—this was the direction we’ve been going in as a society. Once we have the idea of corporations having personhood, that a corporation is somehow more of a person than an actual human individual, then it really starts to show you just how bad it can get. I feel like that’s been possible at any time; it’s not just a far-future thing. But depicting it in the far future makes it less horrific, I guess. It allows you to think about these things without feeling like you’re watching the news.

Currently the idea of going to Mars is being pushed by private companies as an answer to all the problems. But [the implication is that those who go will be] some billionaires and their coterie and their indentured servants, and that will somehow be paradise for them and just the reverse for everybody else. With corporations taking over, that’s when profit is the bottom line—profit and personal aggrandizement of whoever’s running it. You can’t have the kind of serious, careful scientific progress that we’ve had with NASA.

This world that you’ve created is so interesting because it’s a dystopia in some ways. The Corporation Rim certainly is. And yet Preservation is kind of a utopia. Do you think of them in those terms?

Not really, because by that standard, we live in a dystopia now, and I think that the term dystopia is almost making light of reality. It’s like if you call something a dystopia, you don’t have to worry about fixing it or doing anything to try to alleviate the problems. It feels hopeless. And if you have something you call a utopia, then it’s perfect, and you don’t have to think about problems it might have or how you could make it better for people.

So I don’t really think in those terms because they feel very limited. And clearly in the Corporation Rim, there are still people who manage to live there, mostly okay, just like we do here, now. And in Preservation, there are still people who have prejudices, and they still have some things to work on. But they are actually working on them, which sets it apart from the Corporation Rim.

One of the central themes of the Murderbot stories is this idea of personhood. Your books make it very clear that Murderbot, as a part-human, part-artificial construct, is definitely a person. With our technology today, do you think artificial intelligence, large language models or ChatGPT should be considered people?

Well, Murderbot is a machine intelligence, and ChatGPT is not. It’s called artificial intelligence as a marketing tool, but it’s not actually artificial intelligence. A large language model is not a machine intelligence. We don’t really have that right now.

We have algorithms that can be very powerful and can parse large amounts of data. But they do not have a sentient individual intelligence at this time. I still think we’re probably years and years and years away from anyone creating an actual artificial intelligence.

So Murderbot is fiction, because machine intelligence right now is fiction.

A large language model that pattern matches words, sometimes sort of sounds vaguely like it might be talking to you and sometimes sounds like it’s just putting patterns together in ways that look really bizarre—that’s not anywhere close to sentient machine intelligence.

I find myself feeling really conflicted because I often resent the intrusion of these language models and products that are being called artificial intelligence into modern life today. And yet I feel such affection and love for fictional artificial intelligences.

Yes! I wonder if that’s one thing that’s enabled the whole scam of AI to get such a foothold. Because so many people don’t like having it in their stuff, knowing that it’s basically taking all your data, anything you’re working on, anything you’re writing, and putting it into this churn of a pattern-matching algorithm. Probably the fictional artificial and machine intelligences over the years have sort of convinced people that this is possible and that it’s happening now. People think talking to these large language models is somehow helping them gain sentience or learn more, when it’s really not. It’s a waste of your time.

Humans are really prone to anthropomorphizing objects, especially things like our laptop and phone and all these things that respond to what we do. I think it’s just kind of baked into us, and it’s being taken advantage of by corporations to try to make money, to take jobs away from people and for their own reasons.

My favorite character in the story is ART, who is a spaceship—that is, an artificial intelligence controlling a spaceship. How did you think about differentiating this character from the half-machine, half-human Murderbot?

Ship-based consciousnesses have been around in fiction for a long time, so I can’t take credit for that. But because Murderbot relies on human neural tissue, that’s why it is subject to the anxiety and depression and other things that humans have. And ART is not. ART was very intentionally created to work with humans and be part of a of a team, so it’s never had to deal with a lot of the negative things that Murderbot has. Someone on the internet described ART as, basically, if Skynet was an academic with a family. That’s one of the best descriptions I think I’ve ever seen.

One of the reasons that I and so many people love this series is how well it explores neurodiversity. You have this diversity of kinds of intelligences, and they parallel a lot of the different types of neurodiversity we see among humans in the real world. Were you thinking of it this way when you designed this universe?

Well, it taught me about my own neurodiversity. I knew I had problems with anxiety and things like that, but I didn’t know I probably had autism. I didn’t know a lot of other things until writing this particular story and then having people talk to me about it. They’re like, “How did you manage to portray neurodiversity like this?” And I’m thinking, “That’s just how my brain works.This is the way I think people think.” Until Murderbot, I don’t think I realized the extent to which it affects my writing. I have had a lot of people tell me that it helped them work out things about themselves and that it was just nice to see a character who thought and felt a lot of the same things they did.

Do you think science fiction is an especially helpful genre to explore some of these aspects of humanity?

It can be. I don’t know if it always has been.Science fiction is written by people, and the good and bad aspects of their personality go into it. A genre changes as the people who are working in it change. So I think it’s been better lately because we’ve finally gotten some more women and people of color and neurodivergent people and disabled people’s voices being heard now. And it’s made for a lot of really exciting work coming out. Lately, a lot of people are calling it another golden age of science fiction.

When I wrote [the first book in the series], All Systems Red, I put a lot of myself into it. And I think one of the reasons why people identify with a lot of different aspects of it is because I put a lot of genuine emotion into it and I was very specific about the way Murderbot was feeling about certain things and what was going on with it. I think there’s been a fallacy in fiction, particularly genre fiction, that if you make a character very generic, that lets more people identify with it. But that’s actually not true. The more specific someone is about their feelings and their issues and what’s going on with them, the more people can identify with that because of that specificity.



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How Capital One drives returns on its AI investments

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That speed has caught many IT executives off guard as techniques that have always worked for them stop working, Andersen adds. “With this absolute velocity, you are seeing the old norms of trying to figure out how much to invest, those are no longer useful tools,” he says. “If you use traditional methods, you just don’t get it.”

Although Andersen agrees that inference pricing has gone down significantly, “the reality is that we are asking for more sophisticated tasks, queries that are perhaps 1,000 times more complicated” today as compared to two years ago, he says.

Capitalizing on cloud and data

When Natarajan joined Capital One in March 2023, ChatGPT was barely four months old. Despite having been used for about 15 years at that point, generative AI didn’t take off in terms of C-suite and board mindshare until OpenAI introduced ChatGPT.



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