Enjoy Stunning Visuals with Yaber’s Powerful K300s, L2 Plus, and T2 Series

LAS VEGAS, Jan. 6, 2025 /CNW/ — Yaber, a pioneer in entertainment projectors, introduces three groundbreaking models: the ultra-short throw laser projector K300s, the cinema-level sound projector L2 Plus, and the T2 Series. These state-of-the-art projectors showcase Yaber’s commitment to pushing the boundaries of home entertainment technology, offering consumers unparalleled viewing and listening experiences not possible before.

Cinema-Quality Entertainment Anywhere: Yaber K300s Ultra-Short Throw Projector

The Yaber K300s redefines home entertainment with ultra-short throw technology, projecting a 100-inch image from 24.8 cm. Triple RGB Laser Technology ensures vibrant colors (150% NTSC), 1000 ANSI lumens brightness, and NovaGlow™ for uniform visuals. Dual 15W JBL speakers with Dolby deliver immersive audio, while instant autofocus and smart keystone make setup simple, and advanced connectivity and 50% energy efficiency enhance usability.

Priced at $999.99, the K300s will be available on Yaber official website on Jan 15 and will roll out soon in retail stores in the United States, Japan, Europe, and Taiwan region.

Elevate Home Entertainment Experience: Yaber L2 Plus

The Yaber L2 Plus projector is perfect for home entertainment, combining HD picture quality, powerful sound, and easy operation. Its 1.35:1 throw ratio allows flexible placement, making it ideal even for smaller rooms. With 1080p resolution, 700 ANSI lumens brightness, and dual 8W JBL speakers, it delivers stunning visuals and cinema-quality audio. Plus, enjoy its Keith Haring special edition for a stylish touch.

With hands-free autofocus, intelligent screen alignment, and under-35dB noise, the L2 Plus offers quiet, seamless operation. The MRSP is $199, and it will be available on the Yaber official website and in US offline stores starting Q2 2025.

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Portable Entertainment Redefined: Yaber T2 Series Projector

The Yaber T2 Series projector shines with its innovative battery-powered design, offering up to 2.5 hours of use, making it ideal for outdoor movie nights and camping adventures. With native 1080p resolution and JBL sound supported by Dolby Audio, it ensures an immersive experience, whether users are enjoying a cozy film under the stars or a lively summer trip. Adding a creative touch, the Keith Haring special edition elevates its style. Don’t miss the exclusive CES deal—get the T2 for just $225 with code CEST220OFF on Amazon US, available from Jan 7 to Jan 12.

SOURCE YABER TECHNOLOGIES CO., LIMITED

Lennard J. Davis, University of Illinois Chicago

Dorothy Allison, who died on Nov. 5, 2024, published her first novel, “Bastard Out of Carolina,” in 1992, when she was 42 years old.

She mined her own life to craft the semi-autobiographical work, which became a finalist for the National Book Award.

Growing up poor in Greenville, South Carolina, Allison endured abuse of all kinds before becoming the first in her family to finish high school and college. As a lesbian, she faced additional challenges and hurdles. Before she achieved literary fame with her first novel, Allison ran a feminist bookstore and a women’s center. She was broke when she finally sold “Bastard Out of Carolina.”

To me, Allison is a shining exception in a long line of authors who have attempted to write about poverty but fail to accurately capture it.

In my book “Poor Things: How Those with Money Depict Those without It,” I detail the genre of what I call “poornography” – stories written about poor people by people who don’t have firsthand experience being poor themselves.

Most readers are probably familiar with the standard tropes in these works: violence, sexual abuse, addiction, filth and degradation. Allison was decidedly not in that camp.

She broke that mold by finding beauty in her impoverished surroundings and focusing on love, humor and family bonds.

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Beauty in a hopeless place

Even though “Bastard out of Carolina” ultimately deals with physical and sexual abuse – which, of course, is not confined to poor people – this merely constitutes one element of a broader emotional and physical landscape.

Allison’s hometown of Greenville is also the setting of the novel – and it’s a place that the novel’s young narrator, Bone, describes as “the most beautiful place in the world.” She adds:

“Black walnut trees dropped their green-black fuzzy bulbs on Aunt Ruth’s matted lawn, past where their knotty roots rose up out of the ground like the elbows and knees of dirty children suntanned dark and covered with scars. Weeping willows marched across the yard, following every wandering stream and ditch, their long whiplike fronds making rents that sheltered sweet-smelling beds of clover.”

Extreme hunger, however, is unique to poverty, and something that poor writers often recall with a kind of vividness that can escape middle-class or wealthy writers.

“Hunger makes you restless,” Allison writes. “You dream about food, magical meals, famous and awe-inspiring, the one piece of meat, the exact taste of buttery corn, tomatoes so ripe they split and sweeten the air, beans so crisp they snap between the teeth, gravy like mother’s milk singing to your bloodstream.”

In “Bastard out of Carolina,” Allison doesn’t celebrate hunger. But she is able to find humor in it and show how laughter can be used as a coping mechanism.

In the novel, when Bone complains about being hungry, her mother recounts her own childhood: Back then, there was “real hunger, hunger of days with no expectation that there would ever be biscuits again.” And during those times she and her siblings would concoct fantastical stories of strange dishes: “Your aunt Ruth always talked about frogs’ tongues with dew berries. … But Raylene won the prize with her recipe for sugar-glazed turtle meat with poison greens and hot piss dressing.”

Humor isn’t used to gloss over the seriousness of poverty. Yet Allison is keen to point out that both can exist: They are all wrapped up in a life lived.

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American delusion

I can’t help but compare Allison’s work with that of an author like JD Vance. In his 2016 memoir, “Hillbilly Elegy,” Vance revels in his grandmother’s anger and violence as a sign of her vibrant hillbilly-ness.

On the other hand, in “Bastard out of Carolina,” Bone recalls her mother saying flatly, “Nothing to be proud of in shooting at people for looking at you wrong.”

So many other writers about poverty have characters who pine for the material comforts promised by the American Dream, whether it’s Clyde Griffiths in Theodore Dreiser’s “An American Tragedy” or George and Lennie in John Steinbeck’s “Of Mice and Men.”

Allison’s characters, on the other hand, learn to see through this false promise. In one scene, Bone and her cousin break into the local Woolworth’s.

Previously, she had longingly eyed a brimming glass case of nuts. But once she shatters the display case, she realizes “that the case was a sham. There hadn’t been more than two inches of nuts pressed against the glass front, propped up with cardboard.” Her reaction: “Cheap sons of bitches.”

In a display of class consciousness, Bone eventually detects the false allure of cheap commodities. “I looked … at all the things on display. Junk everywhere: shoes that went to pieces in the rain, clothes that separated at the seams, stale candy, makeup that made your skin break out.”

In contrast, she thinks of the value of the home-canned goods made by her aunt. “That was worth something. All this stuff seemed tawdry and useless.”

‘Jealous of you for what you got’

At one point, Bone articulates the concept of poornography without using that term. She talks about “the mythology” that plagues poor people:

“People from families like mine – southern working poor with high rates of illegitimacy and all too many relatives who have spent time in jail – we are the people who are seen as the class that does not care for their children, for whom rape and abuse and violence are the norm. That such assumptions are false, that the rich are just as likely to abuse their children as the poor, and that southerners do not have a monopoly on either violence or illegitimacy are realities that are difficult to get people to recognize.”

In “Bastard out of Carolina,” Bone resents the rich rather than admiring them. In a conversation with one of her aunts, she says she “hates” them. Interestingly, her aunt provides the poor person’s counterpoint to hate.

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“Could be they’re looking at you sitting up here eating blackberries … could be they’re jealous of you for what you got, afraid of what you would do if they stepped in the yard.”

Allison shows readers how class resentment can go both ways, and how for all of the contempt directed at poor people from the rich and powerful, there may also be an element of envy and fear at play.

Lennard J. Davis, Distinguished Professor of English, Disability Studies and Medical Education, University of Illinois Chicago

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Roger J. Kreuz, University of Memphis

How will the internet evolve in the coming decades?

Fiction writers have explored some possibilities.

In his 2019 novel “Fall,” science fiction author Neal Stephenson imagined a near future in which the internet still exists. But it has become so polluted with misinformation, disinformation and advertising that it is largely unusable.

Characters in Stephenson’s novel deal with this problem by subscribing to “edit streams” – human-selected news and information that can be considered trustworthy.

The drawback is that only the wealthy can afford such bespoke services, leaving most of humanity to consume low-quality, noncurated online content.

To some extent, this has already happened: Many news organizations, such as The New York Times and The Wall Street Journal, have placed their curated content behind paywalls. Meanwhile, misinformation festers on social media platforms like X and TikTok.

Stephenson’s record as a prognosticator has been impressive – he anticipated the metaverse in his 1992 novel “Snow Crash,” and a key plot element of his “Diamond Age,” released in 1995, is an interactive primer that functions much like a chatbot.

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On the surface, chatbots seem to provide a solution to the misinformation epidemic. By dispensing factual content, chatbots could supply alternative sources of high-quality information that aren’t cordoned off by paywalls.

Ironically, however, the output of these chatbots may represent the greatest danger to the future of the web – one that was hinted at decades earlier by Argentine writer Jorge Luis Borges.

The rise of the chatbots

Today, a significant fraction of the internet still consists of factual and ostensibly truthful content, such as articles and books that have been peer-reviewed, fact-checked or vetted in some way.

The developers of large language models, or LLMs – the engines that power bots like ChatGPT, Copilot and Gemini – have taken advantage of this resource.

To perform their magic, however, these models must ingest immense quantities of high-quality text for training purposes. A vast amount of verbiage has already been scraped from online sources and fed to the fledgling LLMs.

The problem is that the web, enormous as it is, is a finite resource. High-quality text that hasn’t already been strip-mined is becoming scarce, leading to what The New York Times called an “emerging crisis in content.”

This has forced companies like OpenAI to enter into agreements with publishers to obtain even more raw material for their ravenous bots. But according to one prediction, a shortage of additional high-quality training data may strike as early as 2026.

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As the output of chatbots ends up online, these second-generation texts – complete with made-up information called “hallucinations,” as well as outright errors, such as suggestions to put glue on your pizza – will further pollute the web.

And if a chatbot hangs out with the wrong sort of people online, it can pick up their repellent views. Microsoft discovered this the hard way in 2016, when it had to pull the plug on Tay, a bot that started repeating racist and sexist content.

Over time, all of these issues could make online content even less trustworthy and less useful than it is today. In addition, LLMs that are fed a diet of low-calorie content may produce even more problematic output that also ends up on the web.

An infinite − and useless − library

It’s not hard to imagine a feedback loop that results in a continuous process of degradation as the bots feed on their own imperfect output.

A July 2024 paper published in Nature explored the consequences of training AI models on recursively generated data. It showed that “irreversible defects” can lead to “model collapse” for systems trained in this way – much like an image’s copy and a copy of that copy, and a copy of that copy, will lose fidelity to the original image.

How bad might this get?

Consider Borges’ 1941 short story “The Library of Babel.” Fifty years before computer scientist Tim Berners-Lee created the architecture for the web, Borges had already imagined an analog equivalent.

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In his 3,000-word story, the writer imagines a world consisting of an enormous and possibly infinite number of hexagonal rooms. The bookshelves in each room hold uniform volumes that must, its inhabitants intuit, contain every possible permutation of letters in their alphabet.

Initially, this realization sparks joy: By definition, there must exist books that detail the future of humanity and the meaning of life.

The inhabitants search for such books, only to discover that the vast majority contain nothing but meaningless combinations of letters. The truth is out there –but so is every conceivable falsehood. And all of it is embedded in an inconceivably vast amount of gibberish.

Even after centuries of searching, only a few meaningful fragments are found. And even then, there is no way to determine whether these coherent texts are truths or lies. Hope turns into despair.

Will the web become so polluted that only the wealthy can afford accurate and reliable information? Or will an infinite number of chatbots produce so much tainted verbiage that finding accurate information online becomes like searching for a needle in a haystack?

The internet is often described as one of humanity’s great achievements. But like any other resource, it’s important to give serious thought to how it is maintained and managed – lest we end up confronting the dystopian vision imagined by Borges.

Roger J. Kreuz, Associate Dean and Professor of Psychology, University of Memphis

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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