no secret trump who insist there was no secret deal. nonetheless, he will walk —— people welcome him to the white house. the civilian joint task force released last you to release their children from nigeria, some as young as 11, the better lead to group has set up. now on bbc news, it's click. this week... is beauty really in the ai of the beholder? a bug—eyed camera. and bringing colour to the great war. this is christie's auction house in london and,

at the moment, it's home to a curious painting. it's called edmond de bellamy and it is not what it seems. what i like about the work we're offering is that, at first blush, it looks like a portrait. the frame is all part of that. you approach it, assuming it is like everything else you have seen. and then when you read the label and read that, in fact, this has been created by an artificial intelligence programme, then that, i think, is the real shock. this is the latest image of a type that we have seen before on click — images that have been created using a form of artificial intelligence called generative adversarial networks. as far as i understand it, the computer splits itself in two and one half of the computer looks through 5,000 or 15,000 portraits, learns what a portrait is, and then makes its own version. it's not a mash—up,

it's not photoshopped, it has created a portrait based on the rules that it is learnt. and then the other half of the computer flicks through all the 5,001 and if it can pick the one that has it and reruns it until the discriminator — as it's called — can't detect which is created by human and which by the computer. this is the first piece of ai art to go under the hammer at a major auction in christie's in new york on the 23 of october. the picture—generating algorithm was trained by collective called 0bvious — three guys that live in an unassuming flat in paris. one of the most important aspects of cuisine is to have great ingredients. so, yeah, i guess for what we do, feeding data to our algorithms,

the quality of the data is crucial. if we see something in the output that speaks to us, we believe that it will speak to other people too. edmond de bellamy is one of a family of computer—generated pictures. here's another, le comte de belamy, owned by nicolas laugero—lasserre, an urban art collector who, whose collection lives in ecole 42, a coding school also in paris. translation: what truly astonished me about 0bvious is that they created a hybrid between a start—up and artist. what was great, we realised afterwards, was that a form of art that was subversive was brought into the school, which also has a subversive spirit. the discussion goes on about whether computer—generated works can ever be considered art. 0bvious actually told us that the images themselves aren't important — they're

making conceptual art — and you need to understand the concept which, in this case, is the ai behind the scenes. it would probably be a mistake, as some have done, to compare the work of obvious with the masters of the early 20th century. perhaps instead, they should be compared to works of artists like damien hirst and jeff koons. and maybe the skill actually lies with the inventor of the generative adversarial network method. google brain researcher ian goodfellow — a surname, which when translated into french, becomes belamy. which brings us right back to edmond de bellamy. what we do is make a physical piece. we think it makes our work more accessible because it is more traditional to have a physical piece and people can relate to it. just as facebook creates no content, uber owns no taxis, and airbnb owns no properties, digital art galleries

of the future like this one in paris may not have any physical paintings in it at all. and that will make these printed pieces by 0bvious l‘exception qui confirme la regle. last week, we reported of the new full—frame mirrorless cameras being shown off in germany at the world's largest camera expo, photokina. dan simmons played with the latest creations from canon, nikon, sony, and panasonic's brand lumix. well, this week, dan's going to take us through another few highlights from the show, including these. 0k, smile. you don't have to shake it, but it is part of the culture. it is really being driven by the youth market. so we have seen enormous growth in the last couple of years. and this year alone,

we expect to sell 10 million instant cameras. it's not shared. it's something that is kind of away from the digital world that they are appreciating more. you can tell your phone down and really enjoy the moment, but still capture the moment. you get something amazingly tangible with a natural photo. how long will something like this last? it's a good 20 years... is it? ..that it can last. this does have a selfie mode. shall we give it a go? do you mind? shall we? a little bit closer... are you ready? there we go. a nice holiday snap from dan, who is with us now. so this is clearly a move away from digital. yeah. do you think it is a fad or do you think it will last? well, it's the only sector of the camera market that is actually growing, apart from those mirrorless cameras we saw last week. but if it doesn't, it seems that fujifilm has come up with something new. this comes out next week. this is the same as that,

but it has a screen on the back. so that is digital. and it takes video. right. all right, so why does it take video? it's not a video camera. trust me, it's not a video camera. but when we start going here, we're just recording of a bit of omar there on the left and laura's our other camera person today. and then we can stop it. now, on there is gonna be about 20 or 30 frames that we can scroll around in between. and decide which one of those we end up wanting to print. so there is no more kind of pointing, shooting, hoping. i thought that was part of the fun, to be honest. true. and what else have you got? a 100 megapixel camera. this isjust a model at the moment — it comes out next year. and i asked them why we would need 100 megapixels. better clarity and wider tone of colours and also when you are looking in black—and—white, more natural black and whites as well. i would say from about a3, a2, a1, that is when you start to see a difference. in that kind of size of image. but even in smaller size, you start to seek better

detail and clarity. i can see you're not convinced, spen, so how about we lighten things up? what do you think this could be used for? 0oh, interrogation? 0k, well it's actually a 360—degree camera when it's closed like that. but when the two wide—angle lenses pop open, it transforms into a 3d stereoscopic camera. so you get a super—wide shot which appears to have more depth when you play it back in one of these. and platforms like facebook and youtube are already supporting playback of these files. so, is that on sale yet? no. that is a prototype. it goes on sale next year. but i do have a piece of kit that went on sale about two days ago. great! this is the insta3601x. 0k. now, not only have they increased the resolution from 4k to 5.7k, so you get a better 360—degree look to the whole thing, but it has stabilisation that i have not seen

in any other camera. then the laptop for post—production, it is all done in the camera. but also does something that we have not seen any camera do on this programme. can you guess what that is? can it fly? yes, it can! seriously? well caught! what it did there was as it went through the air it is taking video, and then they can be slowed down — slow motion — and you get this beautiful arc shot of something that you have shot below. you can direct that, because it's 360, and you can say you point downwards, as opposed to something in the air. the only thing is that if it lands on the ground, it is a $400 piece of kit so you probably don't want to damage too much. $400 you say? yeah. hello and welcome to the week in tech. it was the week google announced it would shut down its social network google plus following a bug that they have exposed a half a million of its users' details.

more on google in a bit. and sony confirmed plans for a successor to the playstation 4. it is also the week that augmented reality firm magic leap held its first developers' conference in los angeles. guests at leap con were shown an array of ar content, including virtual raygun battles and flying robots that will apparently bring your living room to life. oscar—winning vfx company framestore were just one of the company showing off their wears. and while the next robot might not fly, it can certainly get some air. the salto—1p, designed by researchers at berkley, bounces on one leg, and, like a ninja, can bounce across several different services in a row. two tiny propellers on top the funny hopper allow it to twist midair. and finally, the creepiest robot ever has been unveiled by university

researchers in japan. smooth, slippery, and determined, the snakebot can wind itself up and down ladders with ease, potentially sending shivers down the spines of window cleaners and diy enthusiasts everywhere. cable—powered, its only known predator is the fearsome off switch. back now to google, which hopes we forget about its recent data breach and be dazzled by a new line—up of devices it unveiled this week. new smartphones, its pixel 3 and pixel 3l have bigger screens. and the cameras have had an update too, helping them see better in the dark. they also sport a second front facing wide—angle camera lens intended for easier selfies. which is just what the world needs. more features than you can shake a selfie stick at comes with a price. and a new member of its smart

speaker range was unveiled. the pixel 3l comes with the google assistant and a seven inches display. it is competitor to the amazon echo show. with no built—in camera, you won't be skyping your pals, but at least you can watch cat videos while cooking dinner. but if you do want to be seen around the house, facebook offered its new portal video chat gadgets. not the greatest of timing giving its recent data breach scandals. complete with camera lens covers to avert prying eyes, the tablet like devices can track around the room and zoom in on you. they have amazon's alexa built—in, used facebook messenger to make calls, and come with augmented reality overlays, so you can pretend to be a pig. technology at its finest. that was nick.

now, this month is adhd awareness month. this is a condition that is estimated to affect nearly 130 million children and adolescents worldwide and can continue into adulthood. now a new study from king's college london is looking including the disorder with different kinds of technologies, including gaming, which is ironic, because technology is often seen as an aggravator. we sent sarah emmett, who has had adhd since childhood, to meet the researchers behind the study. i'm sarah emmett, and i have adhd. adhd stands for attention deficit hyperactivity disorder. now, like most people, i have thoughts buzzing round my head all the time. it's very much like trafalgar square. except with adhd it's very difficult to prioritise which thought should come first or which thoughts to focus on. it's usually the one

that's most stimulating. so right now, stood here, it's definitelyjumping on the lion. it can become a vicious circle with more and more ideas and thoughts presenting themselves as the most important, until gridlock. studies of the brains of people with adhd show abnormalities in the right prefrontal cortex, the area responsible for self—control and attention. research is now using technology to affect neurological changes to this region. by activating this, which is often less engaged in the brains of people with adhd, researchers are hoping to improve concentration. stimulant medication, interestingly enough, also enhances the activity of this right frontal area. but the medication has the problem that has side—effects, people don't like the side—effects, of course. and it has — longer term effects have not been shown. it works fantastically

well for a year. then we've shown that the brain adapts to the drug. when the brain adapts to the drug the drug does not work any more. yeah. so that's why we want to find alternative brain therapies for adhd. there are cognitive training apps, known as brain training apps, that you can buy off the shelf, but none of them are proved to help with adhd. but now pioneering new treatments are on the horizon. this is just to dampen the noise. so i volunteered myself to act as a guinea pig to test out the exercises the experts are coming up with. the research being done here affects the plasticity of the brain, meaning the ability to change by reorganising itself and form new connections. one possible consequences improved concentration and self—control. for the first experiment, i climbed into a brain imaging scanner that is calibrated to pick up the activity in the brain's right prefrontal cortex. the scanner is an mri machine connected to a game that sends

a rocketeer up into space. when my mind is focused on the area of the brain being scanned, the rocketeer goes up. the more i use that area of my brain the higher he goes. so i'm enhancing my own brain activity. ready for the brain stimulation? yes. next up, a different exercise to stimulate my brain. the difference is this is a double whammy. at the same time as gaming, my brain will also receive external stimulations through small electrical signals that are delivered by bristles at the side of a helmet i'll have to wear. but like any good scientific experiment, i had to do a before and after test to see how much my concentration had improved as a result of the exercise. so first a baseline test to establish my current level of concentration. ifeel like my brain is trying to find a pattern. mm—hmm. and there isn't one. what was only a six minute test felt like an eternity.

so i can only guess that my concentration on the before test is pretty appalling. now for the actual exercise. using small electrical currents to stimulate my prefrontal cortex, i was put through my paces once again. pirate. pancake. i am really bashing the ipad. sorry. it is definitely fun and games, ijust hope it is doing me some good. very good. i have earned a medal. now for the final test to establish whether my concentration has improved. before the stimulation you had almost 40% mistakes. yeah. after the stimulations and had only 25%. and on top of that you were much faster. for me, the way i felt was very important. i didn't really mind how the data showed, but actually looking at it, i feel really proud of myself. it's a huge difference. the neural feedback, like the one you did with the rocketeer, that is a pilot study and we found the effect lasts for one year. you are training the brain.

it makes sense. it changes the brain and therefore it has a more lasting effect than an external pill, which you just, which is a positive thing, you get the pill next day the effect is back. it's like the first time that dorothy steps into the wonderful world of oz. black and white photos turned into glorious technicolour. but artist marina amaral has used technology, not magic, to digitally edit 200 pictures for her new book, the colour of time. she's colourised photos from some of the greatest moments in history. taking up to two weeks to modernise each image. so the process is very similar to what traditional painters do. i need to select every tiny detail of the photo by hand. i need to go building layers upon layers of colours and mixing them and trying to capture the original atmosphere.

the project is about using colour to connect us to the past, helping us to relate to the people and the emotions captured in the images. it is only now that technology has allowed marina to do this in so much detail. i think that we have photoshop and also the digital tablets that we have now facilitate the process a lot. when you are colourising movies, for example, the process is very different. that's because colourising 2a frames for every single second of footage was far too time—consuming to do well. until now. to mark the 100 years since the end of the first world war, movie director sir peterjackson has embarked on a project to colourised films. and marc cieslak caught up with him at the imperial war museum.

they shall not grow old is a new documentary film about the first world war, directed by academy award winner sir peterjackson. using audio recorded in the 19605 and 705, veterans of the western front recollect their wartime experiences. you knew what was going on within your vision, beyond that you hadn't got a clue. these stories are told over footage of the war which has been painstakingly restored, colourised, and converted into 3—d byjackson's team at wingnut films in new zealand. audio has been added in places, but the film develops entirely from the soldiers' perspective — in their own words. their stories are told in an imaginative and startling way. the film clips from the patriotic fervour of vetera ns‘ accou nts of their enlistment for war to the brutal and shocking realities of day to day life and death in the trenches. some of these stories are told in an amazingly matter—of—fact way. you lived like tramps.

you didn't polish any buttons. you wore any uniform, bits that you liked and nobody worried. all they were concerned with was that you were fit to fight. peterjackson and his team trawled through over 600 hours of audio and 100 hours of film footage, provided by the imperial war museum's archive, in order to construct the film. vfx wizardry smooths the movements of images, removing any jerky pictures. it's a very unusual method of storytelling. that struck me straightaway. it feels different to almost any war documentary i've seen in the past. the brief that they gave me was, on the surface it was very simple and very wide open, itjust that you can do anything you want. but we would like you to use our archive film in a way that is unusual. so the first idea i had was i will get them to send me some 2k scans, material like three orfour minutes, send it to me in new zealand where we have our big

visual effects department. i thought how well can we restore this film? that blew me away. we were able to restore it way better than i thought we could. it took us a while to figure out all the techniques, because we were taking it further than anyone had with the restoration before. how did you ensure that the colourisation process, the restoration process, and the 3—d didn't overwhelm the story, the stories that were telling, and enhance the stories you were telling? i wanted it to be in colour. they saw it in colour. we think of the war as a black and white war. but it wasn't a black and white war to them. they didn't see black and white, so why should we show it in black and white? so i thought, well, let's make it colour. in doing so, the same as we did the restoration, it had to be the best colourisation we have ever seen. what i found with colourisation is the longer you spend on it the better it gets. that led to the next thing, because once you restore it, the thing that happens is that this film becomes about people,

about human beings, the faces of these guys and the nuances, the humanity. it comes out at you like a freight train. they shall not grow old will be shown in full on the bbc. it will also get an outing on the big screen as part of the london film festival. it's not the only work at the festival which provides a window into the past. the british film institute has been digitally restoring 120—year—old victorian films. unusually, these movies were shot on 68 millimetre film, almost twice the size of conventional 35mm film stock. it's a joy to restore these films. because you're dealing with this large format picture with an enormous amount of detail in it. the only problem is that it is so fragile. so you have to unroll it really carefully, because otherwise the emulsion can peel off. the films themselves are only about a minute in duration,

depicting events like a royal tea party at clarence house. while their runtime may be small, the size of the original film means it can be blown up and will be projected onto an imax screen as part of the festival, allowing us a little glimpse of the past on the biggest screen around. that was marc talking to sir peterjackson. that's it for this week. don't forget we live on facebook and twitter @bbcclick. thank you very much for watching. we will see you soon. how much? i think it was over $1.5 billion, maybe $1.75 billion by the time we got done. you don't realise the scale of how big this build is.