Lightweight CLI for AI image generation using Google Gemini API. Text-to-image, image editing, multi-image composition. Perfect for coding agents like Claude Code. - skorfmann/nanobanana

Chasing workforce consensus or playing it safe may cost firms far more in the long run than making decisive moves on AI now and learning from their results

For years, code-editing tools like Cursor, Windsurf, and GitHub’s Copilot have been the standard for AI-powered software development. But as agentic AI grows more powerful and vibe-coding takes off, a subtle shift has changed how AI systems are interacting with software. Instead of working on code, they’re increasingly interacting directly with the shell of whatever system they’re installed in. It’s a significant change in how AI-powered software development happens – and despite the low profile, it could have significant implications for where the field goes from here.

Large datasets that were made publicly available to the research community over the last 20 years have been a key enabling factor for the advances in deep learning algorithms for NLP or computer vision. These datasets are generally pairs of aligned image / manually annotated metadata, where images are photographs of everyday life. Scholarly and historical content, on the other hand, treat subjects that are not necessarily popular to a general audience, they may not always contain a large number of data points, and new data may be difficult or impossible to collect. Some exceptions do exist, for instance, scientific or health data, but this is not the case for cultural heritage (CH). The poor performance of the best models in computer vision - when tested over artworks - coupled with the lack of extensively annotated datasets for CH, and the fact that artwork images depict objects and actions not captured by photographs, indicate that a CH-specific dataset would be highly valuable for this community. We propose DEArt, at this point primarily an object detection and pose classification dataset meant to be a reference for paintings between the XIIth and the XVIIIth centuries. It contains more than 15000 images, about 80% non-iconic, aligned with manual annotations for the bounding boxes identifying all instances of 69 classes as well as 12 possible poses for boxes identifying human-like objects. Of these, more than 50 classes are CH-specific and thus do not appear in other datasets; these reflect imaginary beings, symbolic entities and other categories related to art. Additionally, existing datasets do not include pose annotations. Our results show that object detectors for the cultural heritage domain can achieve a level of precision comparable to state-of-art models for generic images via transfer learning.