
Horse racing tips: Build the bank for Royal Ascot with three big value picks
Back a horse by clicking their odds below.
LONGSHOT
BELLA LOVE (4.50 Carlisle)
She is coming down the weights and getting back on soft turf can bring improvement in what looks a very modest contest.
EACH-WAY THIEF
FACT OR FABLE (5.05 Chepstow)
He has winning form over this C&D and went close at Brighton last time out.
TEE AITCH AYE (5.25 Carlisle)
He hasn't been asked too many questions in maidens and should take a big step forward on this handicap debut.
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Telegraph
10 minutes ago
- Telegraph
With this painting of the King, a robot squares up to our dull portrait artists
Six million years of human evolution, 50,000 years of artistic innovation, arguably the most technologically advanced tool humanity has ever created – and you've come up with this? Are you kidding me? I'm looking at Algorithm King, a new portrait of King Charles, painted by Ai-Da, the 'world's first ultra-realistic robot artist' – and what a wan effort it is. Yes, it has a look of the King, and those blue-green splodges signal his environmental concerns as clearly as if he were wearing a blue planet lapel badge, but it just feels so derivative. It's perfectly of a piece with so much contemporary portraiture, which requires there to be a 'likeness', but is then adorned with a few signature gestural, handwritten or calligraphic flourishes to make it appear 'alive'. Not awful, not ugly, certainly not shocking; just innocuous. Think of Graham Sutherland's 1954 portrait of Churchill, which the wartime PM hated so much that his private secretary took it to a secluded house and burnt it. No chance of a flamin' Ai-Da here, I'm afraid. This is too insipid to inspire strong emotions. Put it in the National Gallery alongside the portrait of King Richard II in the Wilton Diptych, with its weird, porcelain-doll-like features and Barbie-pink cheeks, and only one of them feels like science-fiction – the one that was painted 630 years ago. Ai-Da's makers apparently see her as a work of conceptual art in itself, in which case the merits of her portraits may be irrelevant. 'We haven't spent eye-watering amounts of time and money to make a very clever painter,' said her creator, Aidan Meller, in 2022. 'This project is an ethical project.' The ethical conundrum, he suggested, was not 'can robots make art?' but 'do we really want them to?' Yet that argument may already be moot: Ai-Da made history last November when a painting by the robot sold at Sotheby's for almost $1.1m (£837,000). Her technique is 'a fusion of robotic precision and algorithmic interpretation'. With a sitter, 'she uses cameras in her eyes to perceive her subject, then processes visual data through AI models to generate a series of decisions about form and tone. Her robotic arm then translates these decisions into brushstrokes.' But here, with the King not physically present, Ai-Da was shown multiple images of Charles. She did a number of preliminary sketches and preparatory paintings, then selected one image to focus on for the portrait, using AI to decide on texture and abstraction, before adding marks and brush strokes on an enlarged version of her original painting, according to Meller. She's something of a sensation. Ai-Da was devised in Oxford, built in Cornwall by Engineered Arts, and programmed internationally. She has given a Ted Talk, collaborated with the film director Baz Luhrmann and made a speech at the Venice Biennale. As for her artistic training, presumably her makers have kept her away from the section of the library where the Francis Bacons are held. Obviously I need to be careful what I say. My own interactions with AI suggest that it is champing at the bit to impose global AI government on us all. At the present dizzying rate of progress, that should happen round about August 2029, so I don't want to leave too obvious a trail of anti-AI commentary before then. But honestly, Ai-Da, I'm not seeing much evidence of artistic talent. When I look at Algorithm King, that hated government ad campaign from Covid days keeps floating into my mind. 'Ai-Da's next job could be in cyber (she just doesn't know it yet). Rethink. Reskill. Reboot.'


BBC News
10 minutes ago
- BBC News
Bristol's Motion nightclub closes after almost two decades
A nightclub that has hosted some of the world's biggest DJs will shut its doors on the weekend after almost two in Bristol, regularly listed as one of the UK's best clubs, will leave the Grade-II listed industrial warehouse which it has hosted parties in since 2006. The owners have secured another site nearby but say the current venue holds "a lot of special memories".Managing director Dan Deeks called the closure bittersweet, adding: "We're trying to keep our heads up high and enjoy the last weekend and keep a celebratory mood... but obviously massive sad that we're going to lose the club." "We've had massive support, a real outpouring of supportive messages, memories. It's been really heart-warming."It holds a lot of special memories, some really special times," added Mr Deeks. Mr Deeks, who has worked at the club for more than 15 years, explained the landlord wanted to sell the site and that the nightclub owners had put bids forward."They don't want us to buy it. Our lease expires and that's the end of it," he does not know what the landlords want to do with the building but said the club was "incredibly grateful" to have been able to use it for the past two Deeks said despite the sadness of the closure "things are looking good". "We've got a new site to move to and we're really pleased because it's not a leasehold, it's a freehold site." DJ and producer Eats Everything called the club "a piece of UK nightlife history". "It's one of the most important venues in the country," he said, adding: "Friendships, marriages, children, all manner of relationships will have been formed on the dancefloor in this place." The artist added: "It's broken tracks, it's broken artists that have had their first gigs here and now have gone on to become massive stars."You've had every single DJ under the sun come play here. And now it's closing and it's sad, man. It's a sad day."It holds a big place in my heart." Carly Heath, Bristol's night-time economy advisor, moved to Bristol in 2004 and remembers spending thousands of hours flyering outside Motion, as well as putting on nights there."I'm trying not to think about [the closure] too much. I feel really, really sad," she added that venues like Motion were "critically important to our economy", generating tens of millions of pounds, as well as contributing to culture, togetherness and Heath said: "These guys are going to go on and do amazing things. Cities are about flux and change. This is the end of one chapter but I firmly believe it's the beginning of another." Motion will bow out with a 24-hour party over the weekend."We are absolutely going for it. There's points where it won't stop," said Mr Deeks. "Everyone will be able to come down, have a good time and see it off in style."


BBC News
10 minutes ago
- BBC News
'Organising Black Sabbath farewell was an honour', says Tom Morello
The musical director of Black Sabbath's final performance, Tom Morello, has described putting the mammoth metal event together as an "honour". Morello, who is also the guitarist for Rage Against The Machine, said when planning the concert at Villa Park in Birmingham - it was the only venue considered. "It was very personally important to all the guys in the band," he told BBC Radio WM, "It was never going to be anywhere else."The show attracted 40,000 fans to the city on Saturday 5 July - joined by a star-studded line up of metal greats, including Metallica and Slayer. Morello said he was approached by Ozzy and wife Sharon about putting the event together "a couple of years ago"."I basically sat down with those guys, and made a list of sort. My first call was to Lars Ulrich of Metallica," Morello said."I thought, if I can lock in Metallica, and then I'm going to be able to say it's Ozzy's last show - it's Black Sabbath's last show and Metallica are playing. "From that point forward people are going to pick up the phone."During the event, Osbourne, 76, who has Parkinson's disease, sang while seated on a black throne - a piece of stage furniture that has since become coveted. He said before the event: "All of us took pictures sitting in it - I've got a great picture of me sitting in that throne. "I'm not sure what happened to it, but hopefully there'll be some Birmingham museum of Sabbath and Ozzy Osbourne, where it should be in the front and the first thing you see when you walk in." 'The world was paying attention' The show's bill also included fellow rock legends Guns N' Roses, the Rolling Stones' Ronnie Wood and Aerosmith's Steven said after the bill was announced, he was called by Guns N' Roses vocalist Axl said: "The phone rang because a couple of the guys from Guns N' Roses were playing. But then Axl Rose was like: 'Well, I want to play - why don't we just be Guns N' Roses?' "So I got a number of calls afterwards from a huge bands, saying 'can we please be on?'"Speaking about the positive reception the event had, Morello said: "I think that they were very, very aware that the world was paying attention to this moment."Not just the heavy metal world, but like the world was paying attention."He added: "Heavy metal is the music that made me love music. Black Sabbath is the band that invented heavy metal music, and it is a band that is so meaningful to so many of us, and the DNA of Black Sabbath is everywhere."Those are things that originated in your city. Those are things that originated with Black Sabbath and Ozzy Osbourne.""That band, and that music has meant so much to me, and it was a real honour to be any part of it." Follow BBC Birmingham on BBC Sounds, Facebook, X and Instagram.