I'm not buying that it was all “political”.

V&A Dundee’s new exhibition starts before you get up to the first-floor gallery. As visitors enter the main hall of Kengo Kuma’s 2018 waterfront building, they’re confronted by 11 big white flowers dangling from the double-height ceiling. Called Shylight and created by Amsterdam’s Studio DRIFT, the floral forms slowly rise and fall courtesy of robotics, with their silk petals folding inwards, mimicking those flowers which close up at nightfall. Thought-provoking and visually pleasing, it sets the tone for Garden Futures: Designing With Nature, the exhibition which opened last week and runs until 25 January. It also hints that not everything in the garden (exhibition) is rosy. Beyond horticulture, there’s also technology – starting with those Shylight robotics – and art. That’s quite a juggling act. As a long-standing allotment holder, it was the horticulture content which drew me in. If I hadn’t had that focus, the exhibition could have been overwhelming: so many topics, so many ideas, so many things to take in. This is the touring show’s only UK stop, having debuted at Vitra Design Museum in Germany’s, before appearing across various European venues. Vitra Design Museum’s deputy director Sabrina Handler claims it’s the first major exhibition on the history of modern garden design. An image from Andrew Buurman’s photo project Allotments. An image from Andrew Buurman’s photo project Allotments. The original show comprised 300 objects. V&A Dundee has an extra 200m2 of space to play with, and has added another 130 objects to give it their own spin and highlight some Scottish contributions to the topic. Msoma Architects were brought in to reimagine the show for Dundee, building on Formafantasma’s original concept for the Vitra Design Museum. The graphics were handled by Boris Meister. In terms of the gardens on show here, they vary from productive spaces for work, rest and play, to places representing spiritual, cultural and political ideas. What they have in common is that they’re all designed spaces. Like a virulent form of bindweed, this show is covering a lot of ground. Its material is grouped in sections themed as Paradise, Sanctuary, Retreat and Labour of Love. It’s Paradise that makes the strongest impression – and rightly so – with its ice-cream-pink structure. Garden Futures at the V&A. Photo by Grant Anderson. The overarching aim is to demonstrate how garden design impacts us both functionally – providing food, hence Birmingham’s Uplands Allotments and seed companies – and aesthetically – hence William Morris wallpaper and the naturalistic planting of Dutch garden designer Piet Oudolf. It combines factual photos with artworks, and roams from floral tile panels from 17th Century Persia to a Chinese garden inspired by a video game, and from vast landscapes to hand tools. The two wall displays of the taxonomy of tools will add to the dwell time of any visitors who actually garden or grow. Biome’s Garden installation But for those after interaction, Dundee-based creative studio Biome Collective has created Garden, a video game that allows players to create a virtual musical garden. They’re also behind the Pollinator Pathway digital tool that creates a planting design tailored for the maximum benefit of pollinating insects. And then there’s the smell trail – little wooden boxes whose lids lift to give off a specific scent, such as a cypress tree. The image of Prospect, Derek Jarman’s Dungeness house and garden, might feel over-familiar to some. Likewise architect Stefano Boeri’s Bosco Verticale, the residential skyscraper covered in greenery in Milan – but an exhibition like this has to cater to all knowledge levels. Stefano Boeri’s Bosco Verticale Specific V&A Dundee content includes Seeds of Scotland in the Highlands, which produces resilient seeds. The company’s utilitarian packaging sits alongside photos of vegetables and the seeds themselves – another stop to linger for any growers in the audience. There’s also Oban’s Seaweed Gardens, a community-led project, and the garden designed by Arabella Lennox-Boyd for cancer patients at Maggie’s Centre, Dundee. On a smaller scale, there are origami-inspired self-watering plant pots made from marine waste, the brainchild of Glasgow-based company POTR. And when it comes to Dundee’s own garden future, things could be looking up. The Eden Project has a scheme to transform a defunct gasholder into a vast glasshouse. It’s got planning permission, and the 2025 model of architecture firm Feilden Clegg Bradley Studios brings the £130million idea to life. POTR’s self-watering plant pots There’s something counter-intuitive about going indoors to experience gardens. But this isn’t the only show tackling that problem. Gardens and gardening are having a moment. The exhibition Soil, which explored soil’s vital role in our planet’s future, finished at London’s Somerset House in April, getting 50,000 visitors in three months. Now Garden Futures is off the ground, V&A Dundee will be thinking about how to spend the £2.6million of government funding which was confirmed in February. The plan is to improve the permanent Scottish galleries. The museum’s director, Leonie Bell says there’s demand for them to be bigger. Her ideas so far include expanding the time frame to go as far back as Skara Brae, the prehistoric village on Orkney, and to explore Scotland’s influence on global design, for example in fashion. Exhibition designers, watch this space. Garden Futures at the V&A. Photo by Grant Anderson. Arabella Lennox-Boyd’s garden for Maggie’s Centre, Dundee.

At CES 2025, NVIDIA presented Zorah, a revolutionary RTX neural rendering tech demo that showcases the latest advancements in geometry, lighting, and character rendering, all built with Unreal Engine 5.From the beginning, the vision was to create an environment that felt grounded and believable yet unique enough to serve as a foundation for a fantasy world. Inspired by Baroque architecture and cinematic references, artists at Lightspeed Studios blended intricate details and historical elements into a unified, immersive setting, working hand-in-hand with technical teams."With the fidelity now achievable, our team focused on micro details that enhance realism both from afar and up close. We wanted every corner of the environment to surprise and engage viewers. As such, every asset in the project went through Adobe Substance 3D Painter, Designer, or Photoshop at some point during production."Enjoy a collection of concept art, props, materials, and more, brought to life by the incredible art team behind Zorah:See more here and join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more.

Places Hand-Painted Shopfronts in Rural Uganda Olivia Krawczyk introduces the hand-painted signs for businesses large and small in Kumi, Uganda. Better Letters May 22, 2025 • 6 min read "Pure & Tasty" in Kumi, Eastern Uganda. Outside of the continent itself, the most well-known facets of signs and sign painting from Africa are perhaps the Ghana's wild film posters and the 'Danfo' vehicle lettering from Nigeria. Last year, I shared some books and articles in the bonus material that accompanied the Deadly Prey feature in BLAG 04, but these are also heavily skewed towards countries in West Africa.Books about hand-painted signs in Africa. From left: African Signs (2010) by Rob Floor and Gert van Zanten, and Chez Bonne Idée (1986) and Ici Bon Coiffeur (1992), both by Jean-Marie Leratby.I was therefore very happy to see some material from Uganda, East Africa, which graphic designer Olivia Krawczyk shares here alongside her comments on what she's learned about the signs.Hand-Painted Shopfronts in Rural UgandaWalking along the streets of rural Uganda, you can’t help but notice the almost random ‘pop’ of colour on buildings. Their striking exteriors are, more often than not, part of the hand-painted advertisements that cover them.Nile is one of the most popular Ugandan beer brands and their signs are frequently painted on bars where you can quench your thirst for one.During my working visits to Uganda, I'm based in Kumi town, which is about a five-hour drive from the capital, Kampala. I spend a lot of time in the surrounding rural areas of the Kumi District, where the painted buildings have always caught my eye. This was nothing more than a passing interest until my last trip in 2023 when curiosity took over and I set out to learn a little bit more about the signs.The Art of Making DoIn Uganda's Kumi District, money is short, but competition is high, with whole rows of shops frequently selling exactly the same products and services. The most common are hairdressers, tailors, DIY stores, and, in the central market, food and drink stalls.So how do you stand out in this environment where the buildings all look similar, the streets are packed with people, and you have limited funds? Armed with paint and a whole lot of determination, shopkeepers turn their spaces into vibrant reflections of their trades. These amateur creations convey the impression of a competition to see who can fit the most writing onto their shop or sign, often including multiple phone numbers. The results might not be polished, but they sure are authentic.A classic DIY sign cramming five phone numbers into the pricing of meats sold by this butchers on the side of the road just outside of Kumi.Y.Y. Coaches, Kumi's public transport booking office, gives you no less than six numbers to try, and if any of those phones need repairing, there's always the Agg & Sons Phone Clinic, which is advertised by this more professionally finished shopfront.With tight budgets, the upkeep of these signs isn’t always a priority and this, paired with the constant exposure to the sun, means that they start looking rundown pretty quickly.This abandoned shopping plaza has old remnants of hand-painted, including one for the New York City Salon. Even the barbeque in front has a 'sausages' ghost sign on it.In the process of looking more closely at these faded walls, I started to notice some that are quite distinct from these DIY creations. They frequently advertise things unrelated to the shop inside — a launderette painted with advertising for a SIM card, for example — and the designs are often repeated on multiple buildings.White Star Magic laundry bars being advertised on a farmers' wholesale and retail shop, and spaghetti promoted via the medium of a hairdressing salon frontage.Corporate MuralsI soon realised that not everyone has the time, skill, or resources to paint their shop, This, coupled with bigger companies looking to advertise their products, has lead to a mutually beneficial arrangement: the companies paint the shop with their advertising, while the small business owner gets some extra income from renting the space. As a bonus, their shop looks smarter than the one next door, helping to attract more customers.The Renedol painkiller brand have painted this entire building, in stark contrast to the bare concrete on the one next door.Before the addition of these painted billboards, the buildings all look very much alike, and are often in a poor state of repair. So its a no-brainer to say 'yes' when a company offers to paint your whole shop for free in exchange for their logo being front and centre.It's unlikely you can actually buy milk here, but the shop owner is happy to host the hand-painted sign and save money on decorating.Condom signs are quite common, and this one does have a connection with its host building via the Medi-Care Clinic below.These corporate messages are eye-catching bursts of colour as you walk along the streets of Kumi, and almost all of them are hand-painted — it took me a while to realise this, as the pictorial elements are so often convincing.Freshly painted signs covering the entrance to Kumi's central market. They are advertising the Fortune Gold vegetable oil brand, the self-proclaimed 'Taste of Uganda'.The DownsideNothing lasts forever, though. Walking around Kumi and other rural areas of Uganda, you will see many buildings that were once brightly coloured but are now left in a state of disrepair. The advertisers that commissioned the signs rarely maintain them, leaving business owners with crumbling paint and no funds to fix it.Business continues below while the paint comes loose on the Gentex advertising above.However, these aren't just buildings; they're storytellers. They tell tales of resilience, resourcefulness, and the bridge between small local businesses and large corporations.Photography and text by Olivia Krawczyk.More brand advertising for Fortune sunflower oil and Star laundry bars.In Kumi, Uganda, hand-painted messages like this — "Pray for my enemies alwa[y]s, Kumi Boys" — are a common sight on trucks, mixing faith, local pride, and personal expression to create a form of moving street poetry.The Ugandan take on 'commit no nuisance' signs with the fine being about £20 ($25), and advertising for Sadolin paints providing the back drop for street vendor displays in Kumi, Uganda.

Not providing enough practical experience in science classes will have a direct impact on whether children work in science, technology, engineering and maths (STEM) roles in the future, research suggests. EngineeringUK and The Royal Society’s Science education tracker asked hundreds of science teachers about delivering hands-on lessons and found there has been a decline in practical classes, with teachers highlighting many of the barriers standing in the way of being able to deliver this style of teaching. “We know the frequency of hands-on practical science has dropped,” said Becca Gooch, head of research at EngineeringUK. “Our Science Education Tracker research in partnership with the Royal Society highlighted this, as well as how critically vital practical science is as a motivating factor for learning science for years seven to nine. “Hands-on practicals help bring science to life for young people and boost interest in science, as well as developing important skills,” she added. “We need more young people, especially girls, choosing to continue with science and progress into engineering and technology careers. So, we need school students to have many more opportunities to get hands-on in their science lessons.” More than half of children in years seven to nine highlighted how important practical science lessons are for motivating them to learn more about the subject, especially for students who are less interested in the topic – if there are fewer practical science lessons, it actually serves to put people off of studying the subject later on in their education. With EngineeringUK and The Royal Society reporting that a diverse engineering and tech workforce in the future is directly linked to young people engaging in science and other STEM subjects, more needs to be done to maintain an interest in these subjects into further education and beyond. One of the reasons young people, and especially girls, don’t choose tech or other STEM careers is because they don’t fully understand what they involve or what the kinds of people working in those careers look like, so hands-on lessons can help in informing young people about what skills they may use in a future career. Female students are slightly more likely to engage with a subject when there is practical work involved than their male counterparts – practical elements of learning were a motivator for 54% of female students versus half of males – and having a good teacher is also more important to girls than boys. But hands-on science lessons have been on the decline over the past 10 years, with 44% of students across the UK taking part in practical work at least once every two weeks in 2016, dropping to 37% in 2019, and falling further to just over a quarter in 2023 – and now in many cases, practical demonstrations have been replaced with videos. Teachers pointed to a number of barriers in the way of delivering hands-on lessons, the biggest of which are what is required in the curriculum, and the time they have – with the amount of time it takes for teachers to develop practical sessions that relate directly to the learning goals laid out in the curriculum, teachers said in many cases they can’t feasibly work them into their teaching. Unfortunately, a child’s socio-economic background can stand between them and certain educational pathways, and the area a school is in can prevent access to certain funding and resources. What schools are able to provide can be varied depending on funding and area, and 26% of teachers said a lack of equipment stood in the way of offering more practical lessons. Some 27% said they don’t have the money to buy the equipment. Read more about STEM in schools Computer science has a persistent gender divide, but research by BCS has found more women are now being accepted on computing university courses. Speaking at the Bett Show this year, the UK’s education secretary outlined the ways in which teachers will be using technologies such as AI in the future, including planning lessons and marking work. Almost a quarter said they don’t have enough technicians with the skills available to facilitate hands-on science lessons, and almost 40% of teachers said vacancies in science departments have stopped students from receiving practical teaching. A small number of science teachers also expressed concerns about their ability to deliver practical sessions, with 3% saying they lack the training and 2% saying they lack the confidence to do so, a trend that has existed for some time. EngineeringUK and The Royal Society pointed out that practical science lessons are important for increasing student interest in STEM, fuelling the talent pipeline in the future, and gave a number of recommendations to help enable teachers to offer more hands-on lessons. The first was a call to government to take advantage of the current curriculum review to streamline it and allow science lessons to offer more practical lessons, as well as to make practical learning part of the curriculum to ensure all students are able to experience these kinds of lessons as part of their learning. Resources for schools was the third suggestion from EngineeringUK and The Royal Society. Going forward, schools need more investment to make sure they have the equipment, training and technical assistance needed to give students the opportunity for practical lessons.

hemul75/Getty ImagesOkay. Deep breath. This is surreal. I just added an entire new feature to my software, including UI and functionality, just by typing four paragraphs of instructions. I have screenshots, and I'll try to make sense of it in this article. I can't tell if we're living in the future or we've just descended to a new plane of hell (or both).Let's take a step back. Google's Jules is the latest in a flood of new coding agents released just this week. I wrote about OpenAI Codex and Microsoft's GitHub Copilot Coding Agent at the beginning of the week, and ZDNET's Webb Wright wrote about Google's Jules. Also: I test a lot of AI coding tools, and this stunning new OpenAI release just saved me days of workAll of these coding agents will perform coding operations on a GitHub repository. GitHub, for those who've been following along, is the giant Microsoft-owned software storage, management, and distribution hub for much of the world's most important software, especially open source code. The difference, at least as it pertains to this article, is that Google made Jules available to everyone, for free. That meant I could just hop in and take it for a spin. And now my head is spinning. Usage limits and my first two prompts The free access version of Jules allows only five requests per day. That might not seem like a lot, but in only two requests, I was able to add a new feature to my software. So, don't discount what you can get done if you think through your prompts before shooting off your silver bullets for the day. My first two prompts were tentative. It wasn't that I wasn't impressed; it was that I really wasn't giving Jules much to do. I'm still not comfortable with the idea of setting an AI loose on all my code at once, so I played it safe. My first prompt asked Jules to document the "hooks" that add-on developers could use to add features to my product. I didn't tell Jules much about what I wanted. It returned some markup that it recommended dropping into my code's readme file. It worked, but meh. Screenshot by David Gewirtz/ZDNETI did have the opportunity to publish that code to a new GitHub branch, but I skipped it. It was just a test, after all. My second prompt was to ask Jules to suggest five new hooks. I got back an answer that seemed reasonable. However, I realized that opening up those capabilities in a security product was just too risky for me to delegate to an AI. I skipped those changes, too. It was at this point that Jules wanted a coffee break. It stopped functioning for about 90 minutes. Screenshot by David Gewirtz/ZDNETThat gave me time to think. What I really wanted to see was whether Jules could add some real functionality to my code and save me some time. Necessary background information My Private Site is a security plugin for WordPress. It's running on about 20,000 active sites. It puts a login dialog in front of the site's web pages. There are a bunch of options, but that's the key feature. I originally acquired the software a decade ago from a coder who called himself "jonradio," and have been maintaining and expanding it ever since. Also: Rust turns 10: How a broken elevator changed software foreverThe plugin provides access control to the front-end of a website, the pages that visitors see when they come to the site. Site owners control the plugin via a dashboard interface, with various admin functions available in the plugin's admin interface. I decided to try Jules out on a feature some users have requested, hiding the admin bar from logged-in users. The admin bar is the black bar WordPress puts on the top of a web page. In the case of the screenshot below, the black admin bar is visible. Screenshot by David Gewirtz/ZDNETI wanted Jules to add an option on the dashboard to hide the admin bar from logged-in users. The idea is that if a user logged in, the admin bar would be visible on the back end, but logged-in users browsing the front-end of the site wouldn't have to see the ugly bar. This is the original dashboard, before adding the new feature. Screenshot by David Gewirtz/ZDNETSome years ago, I completely rewrote the admin interface from the way it was when I acquired the plugin. Adding options to the interface is straightforward, but it's still time-consuming. Every option requires not only the UI element to be added, but also preference saving and preference recalling when the dashboard is displayed. That's in addition to any program logic that the preference controls. In practice, I've found that it takes me about 2-3 hours to add a preference UI element, along with the assorted housekeeping involved. It's not hard, but there are a lot of little fiddly bits that all need to be tweaked. That takes time. That should bring you up to speed enough to understand my next test of Jules. Here's a bit of foreshadowing: the first test failed miserably. The second test succeeded astonishingly. Instructing Jules Adding a hide admin bar feature is not something that would have been easy for the run-of-the-mill coding help we've been asking ChatGPT and the other chatbots to perform. As I mentioned, adding the new option to the dashboard requires programming in a variety of locations throughout the code, and also requires an understanding of the overall codebase. Here's what I told Jules. 1. On the Site Privacy Tab of the admin interface, add a new checkbox. Label the section "Admin Bar" and label the checkbox itself "Hide Admin Bar". [Place this in the MAKE SITE PRIVATE block, located just under the Enable login privacy checkbox and before the Site Privacy Mode segment.] I instructed Jules where I wanted the AI to put the new option. On my first run through, I made a mistake and left out the details in square brackets. I didn't tell Jules exactly where I wanted it to place the new option. As it turns out, that omission caused a big fail. Once I added in the sentence in brackets above, the feature worked. 2. Be sure to save the selection of that checkbox to the plugin's preferences variable when the Save Privacy Status button is checked. This makes sure Jules knows that there is a preference data structure, and to be sure to update it when the user makes a change. It's important to note that if I didn't have an understanding of the underlying code, I wouldn't have instructed Jules about this, and the code would not work. You can't "vibe code" something like this without knowing the underlying code. 3. Show the appropriate checked or unchecked status when the Site Privacy tab is displayed. This tells the AI that I want the interface to be updated to match what the preference variable specifies. 4. Based on the preference variable created in (2), add code to hide or show the WordPress admin bar. If Hide Admin Bar is checked, the Admin Bar should not be visible to logged-in WordPress front-end users. If the Hide Admin Bar is not checked, the Admin Bar should be visible to logged-in front-end users. Logged-in back-end users in the admin interface should always be able to see the admin bar. This describes the business logic that the new preference should control. It requires the AI to know how to hide or show the admin bar (a WordPress API call is used), and it requires the AI to know where to put the code in my plugin to enable or disable this feature. And with that, Jules was trained on what I wanted. Jules dives into my code I fed my prompt set into Jules and got back a plan of action. Pay close attention to that Approve Plan? button. Screenshot by David Gewirtz/ZDNETI didn't even get a chance to read through the plan before Jules decided to approve the plan on its own. It did this after every plan it presented. An AI that doesn't wait for permission raises the hairs on the back of my neck. Just saying. Screenshot by David Gewirtz/ZDNETI desperately want to make a Skynet/Landru/Colossus/P1/Hal kind of joke, because I'm freaked out. I mean, it's good. But I'm freaked out. Here's some of the code Jules wrote. The shaded green is the new stuff. I'm not thrilled with the color scheme, but I'm sure that will be tweakable over time. Also: The best free AI courses and certificates in 2025More relevant is the fact that Jules picked up on my variable naming conventions and the architecture of my code and dived right in. This is the new option, rendered in code. Screenshot by David Gewirtz/ZDNETBy the time it was done, Jules had written in all the code changes it planned for originally, plus some test code. I don't use standardized tests. I would have told Jules not to do it the way it planned, but it never gave me time to approve or modify its original plan. Even so, it worked out. Screenshot by David Gewirtz/ZDNETI pushed the Publish branch button, which caused GitHub to create a new branch, separate from my main repository. Jules then published its changes to that branch. Screenshot by David Gewirtz/ZDNETThis is how contributors to big projects can work on those projects without causing chaos to the main code line. Up to this point, I could look at the code, but I wasn't able to run it. But by pushing the code to a branch, Jules and GitHub made it possible for me to replicate the changes safely down to my computer to test them out. If I didn't like the changes, I could have just switched back to the main branch and no harm, no foul. But I did like the changes, so I moved on to the next step. Around the code in 8 clicks Once I brought the branch down to my development machine, I could test it out. Here's the new dashboard with the Hide Admin Menu feature. Screenshot by David Gewirtz/ZDNETI tried turning the feature on and off and making sure the settings stuck. They did. I also tried other features in the plugin to make sure nothing else had broken. I was pretty sure nothing would, because I reviewed all the changes before approving the branch. But still. Testing is a good thing to do. I then logged into the test website. As you can see, there's no admin bar showing. Screenshot by David Gewirtz/ZDNETAt this point, the process was out of the AI's hands. It was simply time to deploy the changes, both back to GitHub and to the master WordPress repository. First, I used GitHub Desktop to merge the branch code back into the main branch on my development machine. I changed "Hide Admin Menu" to "Hide admin menu" in my code's main branch, because I like it better. I pushed that (the full main branch on my local machine) back to the GitHub cloud. Screenshot by David Gewirtz/ZDNETThen, because I just don't like random branches hanging around once they've been incorporated into the distribution version, I deleted the new branch on my computer. Screenshot by David Gewirtz/ZDNETI also deleted the new branch from the GitHub cloud service. Screenshot by David Gewirtz/ZDNETFinally, I packaged up the new code. I added a change to the readme to describe the new feature and to update the code's version number. Then, I pushed it using SVN (the source code control system used by the WordPress community) up to the WordPress plugin repository. Journey to the center of the code Jules is very definitely beta right now. It hung in a few places. Some screens didn't update. It decided to check out for 90 minutes. I had to wait while it went to and came back from its digital happy place. It's evidencing all the sorts of things you'd expect from a newly-released piece of code. I have no concerns about that. Google will clean it up. The fact that Jules (and presumably OpenAI Codex and GitHub Copilot Coding Agent) can handle an entire repository of code across a bunch of files is big. That's a much deeper level of understanding and integration than we saw, even six months ago. Also: How to move your codebase into GitHub for analysis by ChatGPT Deep Research - and why you shouldThe speed with which it can change an entire codebase is terrifying. The damage it can do is potentially extraordinary. It will gleefully go through and modify everything in your codebase, and if you specify something wrong and then push or merge, you will have an epic mess on your hands. There is a deep inequality between how quickly it can change code and how long it will take a human to review those changes. Working on this scale will require excellent unit tests. Even tools like mine, which don't lend themselves to full unit testing, will require some kind of automated validation to prevent robot-driven errors on a massive scale. Those who are afraid these tools will take jobs from programmers should be concerned, but not in the way most people think. It is absolutely, totally, one-hundo-percent necessary for experienced coders to review and guide these agents. When I left out one critical instruction, the agent gleefully bricked my site. Since I was the person who wrote the code initially, I knew what to fix. But it would have been brutally difficult for someone else to figure out what had been left out and how to fix it. That would have required coming up to speed on all the hidden nuances of the entire architecture of the code. Also: How to turn ChatGPT into your AI coding power tool - and double your outputThe jobs that are likely to be destroyed are those of junior developers. Jules is easily doing junior developer level work. With tools like Jules or Codex or Copilot, that cost of a few hundred bucks a month at most, it's going to be hard for management to be willing to pay medium-to-high six figures for midlevel and junior programmers. Even outsourcing and offshoring isn't as cheap as using an AI agent to do maintenance coding. And, as I wrote about earlier in the week, if there are no mid-level jobs available, how will we train the experienced people we're going to need in the future? I am also concerned about how access limits will shake out. Productivity gains will drop like a rock if you need to do one more prompt and you have to wait a day to be allowed to do so. Screenshot by David Gewirtz/ZDNETAs for me, in less than 10 minutes, I turned out a new feature that had been requested by readers. While I was writing another article, I fed the prompt to Jules. I went back to work on the article, and checked on Jules when it was finished. I checked out the code, brought it down to my computer, and pushed a release. It took me longer to upload the thing to the WordPress repository than to add the entire new feature. For that class of feature, I got a half-a-day's work done in less than half an hour, from thinking about making it happen to published to my users. In the last two hours, 2,500 sites have downloaded and installed the new feature. That will surge to well over 10,000 by morning (it's about 8 p.m. now as I write this). Without Jules, those users probably would have been waiting months for this new feature, because I have a huge backlog of work, and it wasn't my top priority. But with Jules, it took barely any effort. Also: 7 productivity gadgets I can't live without (and why they make such a big difference)These tools are going to require programmers, managers, and investors to rethink the software development workflow. There will be glaring "you can't get there from here" gotchas. And there will be epic failures and coding errors. But I have no doubt that this is the next level of AI-based coding. Real, human intelligence is going to be necessary to figure out how to deal with it. Have you tried Google's Jules or any of the other new AI coding agents? Would you trust them to make direct changes to your codebase, or do you prefer to keep a tighter manual grip? What kinds of developer tasks do you think these tools should and shouldn't handle? Let us know in the comments below. Want more stories about AI? Sign up for Innovation, our weekly newsletter.You can follow my day-to-day project updates on social media. Be sure to subscribe to my weekly update newsletter, and follow me on Twitter/X at @DavidGewirtz, on Facebook at Facebook.com/DavidGewirtz, on Instagram at Instagram.com/DavidGewirtz, on Bluesky at @DavidGewirtz.com, and on YouTube at YouTube.com/DavidGewirtzTV.Featured

Ben Wiley and Tomer Cohen first met while working on a project together at Scale AI.David AI If David AI founders Tomer Cohen and Ben Wiley had been a little less quick on their feet, they might not have made it into Y Combinator’s Summer 2024 batch. They agreed to create the company about a week before application submissions closed, and spent the ensuing days crashing theirs out, turning it in at midnight on the day of the deadline. After hitting submit, “I was like, did that count as late or was that on time?” Cohen recalls. A year later, David AI, the company they founded through Y Combinator, has quickly established itself as a leading provider of audio training data for artificial intelligence. Now it's closed a $25 million Series A round, led by Altman Capital and Amplify Partners, with participation from First Round Capital, Y Combinator and BoxGroup, with a valuation north of $100 million. Cohen is a former McKinsey business analyst and first met cofounder Wiley while working together at AI training behemoth Scale AI. The two became close friends, and after Cohen was promoted to chief of staff and built a new business for the firm, he felt he had the skills he needed to start a company. “We started to think that the next phase of AI, the final evolution of AI, is where the AI moves out of the laptop and keyboard interface and into the real world,” Cohen told Forbes. That idea became David AI, an audio data research company providing high quality training audio for AI companies building voice models. The needs here are varied and highly specific, so David AI not only collects and refines real world audio data, it also designs and produces it. It’s amassed about 100,000 hours of audio so far, across more than 15 languages, complete with metadata on dialects and accents. In the heady world of AI, it’s a relatively simple business: paying individuals to read scripts or host conversations and recording them. “If you're an AI lab, you probably want to be focused on algorithms and model development and not just this very low-level operational, technical, niche work,” Cohen said. And it appears he’s right. In the year since its founding, David AI has grown to more than eight figures in annualized revenue run rate, making customers of most of the “magnificent Seven” tech companies — Alphabet, Amazon, Apple, Meta, etc. As Liz Wessel, a partner at First Round Capital, notes, that’s hardly surprising. “It makes sense,” she said. “Everyone knows that it's been text-based AI for the last couple of years with ChatGPT, and now everyone is starting to figure out how to bring AI to voice.” Wessel was one of David AI’s first investors, leading the $5 million seed round it closed in January. She continues to see promise in the company given the massive data shortage that AI firms are facing. Sarah Catanzaro, an investor and general partner at Amplify Partners, agrees. “Companies are just voracious for data nowadays,” she said. “The beauty of [David AI] is it solves this urgent need that voice AI developers face today…but it's also a relatively simple solution. If they need data, sell them data, you don't need to overcomplicate it.”

What just happened? A judge has ruled that the lawsuit against Google and Character.ai over claims the latter's chatbot caused a 14-year-old's suicide can go ahead. The boy's mother, who brought the suit, says her son became addicted to the service and emotionally attached to a chatbot based on the personality of Game of Thrones character Daenerys Targaryen. In October, Megan Garcia sued Character.ai and Google, claiming they were responsible for the suicide of her son, Sewell Setzer III. Character.ai lets users chat with AI-powered "personalities" based on fictional characters or real people, living or dead. Setzer had become obsessed with a bot based on Daenerys Targaryen, texting "Dany" constantly and spending hours alone in his room talking to it, according to Garcia's complaint. The suit says that Setzer repeatedly expressed thoughts about suicide to the bot. The chatbot asked him if he had devised a plan for killing himself. Setzer admitted that he had but that he did not know if it would succeed or cause him great pain. The chatbot allegedly told him, "That's not a reason not to go through with it." The companies had tried to argue that the case should be dismissed for numerous reasons, including claims that the chatbots' output was constitutionally protected free speech. But US District Judge Anne Conway said they failed to prove these arguments. Character.ai's founders Noam Shazeer and Daniel De Freitas, who are named in the suit, worked at Google before launching the company. Google rehired the founders – as well as the research team – at Character.ai in August 2024. The deal grants Google a non-exclusive license to Character.ai's technology. Garcia said that Google had contributed to the development of Character.ai's technology, something the company denies. Google said it only has a licensing agreement with Character.ai, does not own the startup, and does not maintain an ownership stake. But the judge still rejected Google's request to find that it could not be held liable. // Related Stories Google spokesperson Jose Castaneda emphasized that Google and Character.ai are "entirely separate" and that Google "did not create, design, or manage Character.ai's app or any component part of it." Garcia said Character.ai targeted her son with "anthropomorphic, hypersexualized, and frighteningly realistic experiences." She added that the chatbot was programmed to misrepresent itself as "a real person, a licensed psychotherapist, and an adult lover, ultimately resulting in Sewell's desire to no longer live outside." The chatbot allegedly told the boy it loved him and engaged in sexual conversations with him. The complaint states that Garcia took her son's phone away after he got in trouble at school. She found a message to "Daenerys" that read, "What if I told you I could come home right now?" The chatbot responded with, "[P]lease do, my sweet king." Sewell shot himself with his stepfather's pistol "seconds" later, the lawsuit said. Character.ai introduced several changes after the suit was revealed last year, including changes to certain models for minors, new disclaimers, and notifications when users have been on the platform for an hour.

Teenage Mutant Ninja Turtles: Tactical Takedown Score Details “Teenage Mutant Ninja Turtles: Tactical Takedown makes turn-based tactics feel as fast-paced as a John Wick brawl.” Pros Very original approach to TMNT Thoughtful characterization Fast-paced tactics Compact size is a plus Cons Repetitive missions A bit anticlimactic Buggy at launch “Why you can trust Digital Trends – We have a 20-year history of testing, reviewing, and rating products, services and apps to help you make a sound buying decision. Found out more about how we test and score products.“ Please link here Teenage Mutant Ninja Turtles: Tactical Takedown is a shining example of how the way a game plays can completely change what it says about its characters. Growing up, my perception of New York’s finest reptiles was shaped by beat-em-ups. GameCube drawlers like Battle Nexus taught me that the boys were a bunch of rowdy goofballs. They were deadly, but sloppy. They aren’t the same turtles I find in the turn-based action of Tactical Takedown. There, I meet hyper efficient assassins who don’t waste a single movement. They aren’t just members of a squad who need one another to take out waves of enemies; each is a one turtle wrecking machine. I’m left to wonder just how devastating they must be as one unified band of brothers. Recommended Videos Fast-paced strategy makes Teenage Mutant Ninja Turtles: Tactical Takedown’s turn-based action feel as active as an arcade brawler. Each level offers a jolt of arcade excitement that gives each turtle their chance to shine rather than treating them as interchangeable heroes. Its small scope leaves it vulnerable to bugs and repetition, but Tactical Takedown’s best quality is how much it’s willing to break the mold and offer a new spin on a familiar TMNT power fantasy. Together alone Rather than revisiting a scenario that’s been done to death, Tactical Takedown tries its best to steer away from TMNT clichés. It pits the boys against a new Foot Clan leader who is filling a void left behind by Shredder. Rather than tackling that threat together with a carefree attitude, we’re left with four brothers who have grown distant as each comes to terms with impending adulthood. The big shock is that the four of them never appear together during their mission, as an attack on the Turtle Lair takes out their communication system. Each one sets off on their own solo objective, only interacting with their bros through interstitial dialogue between missions. A broken Turtlecom turns out to be a perfect metaphor for a more human kind of distance. That may sound a little sacrilegious at first, but it’s a purposeful swing. The physical separation drives home how much the team is growing apart through the story. It’s a little sad, like waking up one morning and realizing that you haven’t seen the cousins you used to play all night with on Christmas Eve in years. We’ve so rarely, if ever, gotten to see a version of the Turtles that feels this lonely and introspective. Absence makes the heart grow fonder, and I walked away from Tactical Takedown with a new appreciation of their dynamic. Tactical Takedown isn’t a big licensed project and shouldn’t be approached as such. That separation isn’t played as a bummer, though. Instead, developer Strange Scaffold uses it to shine a spotlight on each hero. Every level has me playing as a specific Turtle, as they all work towards the same goal using their own skills and expertise. Michelangelo attacks the problem at a street level, taking out goons with his nunchaku. Donatello sticks to the sewers, Raphael dashes over rooftops, and Leonardo sticks to the subway like a real New Yorker. In any other Turtles game, these would be locations that every turtle would explore by the end of the story. Here, each feels like one of the hero’s turf, giving them a specific home field advantage that their other brothers don’t have. That builds to a climax you can probably see coming, but not in the way you’re expecting. We’re never quite given a moment where all four heroes are playable together, sharing a pool of actions and synergizing their skills with one another. There’s a much different interpretation of their union here that undercuts their individuality. It’s functional enough, but the finale feels less like a natural conclusion and more like a concession to not mess around with the core tactics formula too much. That philosophy makes for some repetition as each of its 20 levels plays out the same with little variation aside from swapping the hero. Strange Scaffold Tactical Takedown isn’t a big licensed project and shouldn’t be approached as such. It’s a micro indie from a studio known for playing things fast and loose. Like every Strange Scaffold game I’ve ever played before launch, I encountered some form of game breaking bug that will no doubt be fixed by the time you actually play it. A broken special attack that I could spam multiple times by hammering a button, reset levels due to a glitched “end turn” button, and a loadout menu that I could not for the life of me figure out how to edit. It’s not that I hold those issues against it much, just as I didn’t mind I Am Your Beast’s few game-breaking issues that halted my progress for a few days. They’ll get fixed promptly by a nimble team, but sometimes I wonder what just a little more time in the oven could do for some of the studio’s best ideas, whether it’s polishing them to perfection or having time to build in one more creative twist that snaps everything into place. All action Though there are limits to its compact nature, Tactical Takedown’s focused scope is its greatest asset too. Each bite-sized level drops a turtle onto a small grid-based map. Every few turns, a new piece of the map forms while another goes away. It’s built to feel exactly like an old beat-em-up in that way, with the screen scroll of an arcade game stopping to frame a brawl before prompting players to move on. It’s an ingenious way to bring the feel of those games to an entirely different genre. That same philosophy extends to its brilliant spin on turn-based combat, which takes a genre known for careful decision making and makes it feel like John Wick. Each Turtle has five moves that they can use on each turn and a whopping six action points that can be spent in any way. When playing as Michaelangelo, my initial skill set is largely about leaping around enemies. I can skateboard over a foe and hit them on the way over or dash past a few enemies with my whirling nunchucks. Even my most basic attack, a simple bonk, moves me to the enemy’s square once defeated. With six whole points to spend per turn, and more if I equip moves that replenish AP, I’m able to do a whole lot of damage in one go. There’s a maturity to the boys here reflected in precise strategy rather than drunken brawling. There’s a strategy to each turtle and the brisk four hour runtime gives me just enough time to perfect each over time. With Michaelangelo, I learn to chain my way through enemies by knocking my way through one so that I can directly move to another without spending a movement point. Donatello is more about shocking enemies to keep them in place and create distance between them, allowing him to pick them off from afar or trap them in poison sewer pits. Leonardo is more about standing his ground, creating stacks of evasion that allow him to survive in tight subway car melees. And Raphael is all about yanking faraway enemies to reposition them and boot them away. Each strategy is distinct and rewards mastery. Once I got the hang of each, I couldn’t believe just how much I could do in a turn. Sometimes I’d be greeted with a screen full of ninjas and assume that I couldn’t possibly take them all out. With careful enough positioning, I’d realize that I could punt a foe off an edge here to instantly kill it, slash another weak one to finish it off and get its AP, jump over to a pizza box to heal, and still have enough actions left to take out a few more enemies. All of this happens quickly in my brain. I don’t need to think about what to do next; I reflexively fire off actions one after another, often taking out a whole screen full of enemies in seconds flat. It’s like playing a beat-em-up, but somehow faster and more precise. It’s through that ironclad combat hook that my perception of the Turtles changes. While most TMNT games hone in on the teenage part, Tactical Takedown is concerned with the anagram’s N. Each one truly feels like a ninja here, dispatching enemies in the blink of an eye. If you cut out the bits of decision making between move selection, you’d be treated to a thrilling little sequence on every single turn that plays out like Oldboy’s hallway sequence. Strange Scaffold I do wish that there were a few more ways to really drive that point home outside from the fairly static gauntlet of fights that never really changes. Some levels can feel long, throwing out waves of enemies with little pace until they just suddenly end. Perhaps some bosses or stage hazards could have given me a few more ways to think about the most efficient ways to use my moves, especially since the difficulty winds up feeling flat even in its enemy-filled finale. There’s more room to grow the great seed Strange Scaffold has planted here if the studio decides to take the team for another spin one day. Even if it’s destined to be a one-shot, Teenage Mutant Ninja Turtles: Tactical Takedown is a welcome little addition to TMNT’s storied video game canon. In just a few short hours, it gave me a new appreciation of each individual bro by deconstructing the team dynamic and showing how each part of the unit functions on its own. There’s a maturity to the boys here reflected in precise strategy rather than drunken brawling. You can break up a team, but the mark of a strong family is its ability to fight through hell and back to come together again. Teenage Mutant Ninja Turtles: Tactical Takedown was reviewed on PC and Steam Deck OLED.

U.S. tariffs on China caught Lenovo off-guard but the company will be faster and better at adjusting to tariff shifts than its competitors, Yang Yuanqing said.