Streaming service Plex has long since grown beyond its original focus of being a home for personal media to offer a more comprehensive solution for discovering, streaming, and sharing content across services, including Plexs own ad-supported free TV and movies. More recently, the company added social networking features, which its today expanding with its rollout of new functionality. Notably, this includes a way to share your Plex profile publicly and tools to let others read your TV and movie reviews and then comment in return.Plex first introduced social networking in November 2023 when it launched a feature called Discover Together, which allowed users to create profiles on the service and then find and follow friends to see what they were watching. (The feature initially received some backlash as some Plex users were unhappy about its opt-out nature. Plex now notes that content flagged as adult wont appear in users Activity fees, which was one of the users concerns.)While it was a shift for the company, offering a more social experience on Plex allows it to better compete not only with other free, ad-supported streamers but also with dedicated social networks for movie and TV reviews like Letterboxd and TV Time, among others.Image Credits:PlexWith todays release, Plex says users will now be able to share a public URL that points to their profile on the service on watch.plex.tv. By default, users will be findable by others on Plex via the apps search, unless theyve already turned this off in their settings.People who view your user profile will be able to see what youve been watching, whats on your Watchlist, and more. This does not change any of your existing privacy settings, Plex notes. In addition, Plex users will have the option to make their Ratings & Reviews visible to other users on Plex through a new setting. Here, you can choose between allowing anyone to see these reviews or only those signed in to Plex. You can also choose that your reviews are only visible to Friends or Friends of Friends, or you can make all your Ratings & Reviews private if desired. Alongside the social networking features, Plex is also launching a preview of its new user interface, initially on Apple TV. The redesign includes updated navigation, more personal media customization, easier feature access, a richer experience with more artwork, and Plexs various social networking features, the company says in its announcement.Image Credits:PlexFor power users, Plex Pass subscribers (paid users) will gain access to HEVC hardware encoding for better video quality while saving bandwidth. This option was previously in preview mode with select users but is now available to all subscribers.

A South Carolina utility wants to restart construction on a power plant that was mothballed eight years ago after running over budget and pushing an iconic American company into bankruptcy.Hoping to capitalize on the data center power boom, state-owned utility Santee Cooper is looking for partners to help finance and complete the two reactors at the Virgil C. Summer Nuclear Power Station, the Wall Street Journal reports.Virgil C. Summer Nuclear Power Station is a single reactor power plant. Santee Cooper was spearheading the construction of two new reactors, an expansion that began in 2008. The unfinished project was halted in 2017 after an audit revealed the project cost had ballooned from $9.8 billion to $25 billion and that completion would take far longer than expected, causing it to miss $2 billion in federal incentives.The boondoggle contributed to the bankruptcy of Westinghouse, the nuclear power company descended from one of the earliest electric companies in the United States. It also led to securities fraud convictions for two executives at SCANA, Santee Coopers partner in the project.The two reactors that were under construction are sisters of a pair installed at the Vogtle Electric Generating Plant in Georgia. The Vogtle expansion was finally commissioned in 2023 after years of delays and billions in overruns, casting a pall over the entire U.S. nuclear power industry.Despite the troubled history at V.C. Summer, Santee Cooper is optimistic that itll find buyers as nuclear power experiences a resurgence of interest fueled by skyrocketing power demand from AI data centers.The utility has some tailwinds: Microsoft recently inked a deal with Constellation Energy to restart a reactor at Three Mile Island, and Meta is looking for developers to propose 1 to 4 gigawatts of new nuclear capacity. Santee Cooper is reportedly hoping to sell to a consortium that would include a tech company interested in securing power.Any deal Santee puts together will still face some potentially thorny politics. A portion of the costs for the V.C. Summer expansion were foisted onto ratepayers as a result of a state law that allowed utilities to offload the cost of new nuclear reactors. Completing the expansion and finding a buyer for the power could help relieve the burden. Being a state-owned utility, politicians will undoubtedly take an interest in any deal, for better or worse.

InterviewsEdge of Space: Jean de Meuron (Director) & Charles H. Joslain (VFX Supervisor VFX LA)By Vincent Frei - 22/01/2025 Hailing from Switzerland, Jean de Meuron started his journey in the film industry by producing branded content and TV commercials. He later collaborated with top-tier Hollywood studios such as Paramount and Universal, producing acclaimed short films like Megan. After producing his debut feature, Tides, with Roland Emmerich as executive producer, he now turns his attention to directing. He discusses his newest project, the short film Edge of Space.With a career spanning various projects such as The Bear, Weird: The Al Yankovic Story, Upon Walking, and The Creator, Charles H. Joslainco-founder of VFX Los Angelestalks to us about the unique demands of creating VFX for short films.Jean, your journey in the movie business has taken you across various genres and formats. What inspired you to create a story about the NASA X-15 program?Jean de Meuron (JDM) // I have always been fascinated with space exploration. When I worked for Roland Emmerich on Moonfall, where NASA was a partner, I traced the agencys beginnings for research purposes because there is no future without the past. I of course had watched The Right Stuff, Apollo 13 and First Man all movies I love so I was familiar with the cinematic history of NASA.Edge Of Space is set in 1961 during the height of the US-Soviet Union space race and explores those crucial early days, while paying homage to the brave pioneers who sacrificed so much and risked it all. As far as the vision is concerned, I aspired to cinematically depict the struggles and conflicts of those who, as per President John F. Kennedy, took a clearly leading role in space achievement.Could you share how your personal experiences or interests influenced the vision for Edge of Space?JDM // Since the film is inspired by actual historical events, Tom Wolfes book The Right Stuff, and its film adaptation by director Philip Kaufman, which detailed the heroic exploits of test pilots turned astronauts, was a major influence. From a filmmaking point of view, Terrence Malicks cinematography was an influence, as we shot most of the film using available light during golden/magic hour.Charles, what drew you to this project, and how did your background prepare you for the challenges of visualizing this era of aviation history?Charles H. Joslain (CHJ) // Well, like Jean, I grew up in Europe with the constant appeal of one day joining the American Dream (however clich this may sound), and there was not one part of what I like to call peak America (i.e. the 1990s) that I didnt like. But from Michael Jordans exploits to Bruce Willis in Die Hard, I always kept a very special place in my heart for the achievements of NASA & the US military; I am of the belief that when America gets its act together and uses its might for discovery/pushing the boundaries of engineering, the world is a better place.So, with that preamble out of the way, having always marveled at the X-15 (and the SR-71), this was a childhoods dream to get involved and bring/expand my humble knowledge of aviation to the table.How did you research and ensure historical accuracy while crafting a compelling narrative for this story?CHJ // We went through a thorough process of analyzing all archive material that we could get our hands on, from a simple Wiki page to the 40+ hours of grainy footage NASA graced us with thanks to Jeans persuasiveness. We went as far as measuring shadows from top-down photographs of the Edwards Air Force Base to figure out the correct height and positioning of buildings Truly, no stone was left unturned.JDM // As Charlie stated, we researched and studied actual archival footage from Mercury, Gemini and Apollo space missions, which was provided to us by NASA. This way, we not only ensured historical accuracy, but also had an authentic approach on how to visualize the aerial sequences. Pertaining to the compelling narrative, at the heart of the story are ordinary people thrust into extraordinary situations during an era of scientific innovation and human perseverance. Our film embodies the American dream and spirit, namely courage in the face of adversity, and hope while overcoming impossible circumstances against all odds. We think it is an uplifting message that people united for one shared goal and common purpose.Was there a specific moment or story from the X-15 program that convinced you this project needed to be made?JDM // It should be stated that the X-15 program was one of the most successful as far as research in aviation is concerned, making significant contributions to the exploration of space. There is one flight in particular that convinced us, namely Neil Armstrongs X-15 test flight in 1962. He not only carried out the longest mission of the program, but also achieved his highest altitude. On his return to Earth, Armstrong inadvertently pulled too high an angle of attack, causing him to bounce off the atmosphere. Remaining calm under immense pressure, he was able to safely come back. Armstrong, who became the first person to step on the Moon, brought extensive knowledge of engineering and hypersonic flight to further advance Americas space objectives and essentially realize JFKs promise to landing a man on the Moon and returning him safely to Earth.Could you walk us through how you approached the balance between practical shots and VFX?CHJ // We are of the opinion that good VFX work helps move the story forward & bend the characters arcs; those concerns must always be at the forefront of any filmmaking effort. If the VFX wont move the emotional journey of the audience, then they are not needed. With this principle as a starting point, we extended the use of principal photography as far as we could, even capturing beautiful drone footage for some of the aerial sequences or shots_such as the backdrop used for the B52 elevating itself into the frame or the landing sequence in the desert. We also captured various HDRI/lighting references as possible to retain as much of the overall cinematography as possible within our VFX work.JDM // We aspired to film in camera on location aside from the space sequences of course as I like real texture. My DP and I wanted to shoot as practically as possible, so we storyboarded the film. When we were on set, we knew exactly what we needed in terms of VFX plates. For me, visual effects elevate the story in terms of epic scale and ambitious scope for instance in our case digitally adding set extensions like Edwards Air Force Base.What were the most challenging sequences to shoot or recreate, and how did you solve these challenges?JDM // It was challenging to film during magic/golden hour because of the limited time available. We overcame it by being very organized, prepared and efficient, knowing exactly what we wanted to capture.CHJ // From our standpoint, creating the entire Edwards Air Force Base and populating it with MOCAP extras and a variety of tools, vehicles, stated airplanes, adequate markings on the tarmac or the runway, etc That was not easy. Recreating the Arlington-style cemetery was also quite challenging, with having to design individual tombstones and line them up according to Pentagon specifications.But I personally had the most fun with a couple of shots using ultra-long telephoto lenses, around 4000-5000mm Those were truly tricky in terms of reverse-engineering the correct speed of the pan as the camera (all done in CGI in this case) tracks an object moving twice as fast as a bullet, and adding an adequate amount of clouds in the background to give that sense of daredevil speed. Those two are my personal favorites.How did you ensure that the films VFX complemented the story rather than overshadowing it?CHJ // By always keeping in mind what this story is at its core: the extraordinary challenge that a married couple faces when the hope of their nation turns to them for leadership & sacrifice. Hence why each shot has been designed, at storyboarding stage, to enhance the danger the husband faces, or to increase the sense of isolation his wife must endure, etc etc Each angle, each beat, each parameter that makes a film worthy of the name, was conceived with the intent to build the emotional tone between the two of them; VFX included.Could you share an example of a key collaboration between the director and the VFX team that shaped a pivotal moment in the film?CHJ // Ah! A perfect example would be when the lead protagonist fires up his booster after being dropped from the B-52 Without drowning everyone with tedious details about the X-15s necessary flight path, and why the plane operated the way it did, just keep in mind that the booster is ignited with such power that it can propel a 40-feet-plane from a vertical drop using only gravity, into a steep J-curve ascension towards the heavens at mach 6.57 Yes, you read that right: nearly 7 times the speed of sound!Now, you can imagine that equates to a lot of power. And annoyingly if I dare say, we realized during our research that the X-15 booster only acted a sort of blowtorch, producing a unique-looking elongated flame with diamond shapes within it, but no real explosion so-to-speak. Nothing like a Saturn rocket which we are accustomed to see in movies and documentaries.So, Jean wanted to opt for realism but after a lengthy discussion and the sharing of various examples, I convinced him to allow us to create some sort of fire breathing/spitting ball, coming out of the engine as a way to really help cinematically visualize the immense power of the X-15. The final convincing argument I made, I recall, was to say: Our VFX will sell it, but the sound design will make it glorious. And rest assured that Jean heard our rationale and opted for said flames/explosion as a way to embody the awesome thrust of this beautiful aircraft. This is what a good director does: he puts his ego aside and makes the best decisions for the sake of the film.Were there any specific references, either historical or cinematic, that guided the aesthetic and technical choices for the VFX?CHJ // The vision for Edge of Space was to render an homage to classic American epic filmmaking la Spielberg and therefore make sure to craft the VFX with that same balance of technical accuracy, but emotional tonality also. To give a concrete example this would mean creating a CGI shot with the X-15 as it glides just over the atmosphere, and enhancing a little bit the air particles coating the plane to give a better sense of speed; as well as a more cinematic look. Another great example of that process was how we tweaked very slightly the dials on the altimeter/gauges (we added red numbers and a hard line) to give a sense of impending doom when our lead character reaches the near limit of the X-15s flight abilities, making sure the audience would visually understand that once the threshold of 360k feet would be crossed, he would break away from Earths gravity and be lost in space forever. So, that sort of elegant design, between what was scientifically accurate vs. what served the story best, is what we engineered carefully throughout the film.As a short film, budget and resources are often limited. How did you prioritize your resources to achieve the most impact on-screen?JDM // By making sure that most of our resources were in front of the lens on screen to guarantee the biggest cinematic impact.CHJ // I will add by planning nearly down to the pixel what was truly required by the script versus what would only be a bonus or nice to have.What were the biggest compromises you had to make during production, and how did you adapt to these limitations?JDM // Orson Welles once famously said that the absence of limitations is the enemy of art. So rather than compromising, we embraced our challenges, solving them creatively. As a team, we worked very fast and I blocked/staged the scenes in a way that we could use much of the master shot in the edit. We had a very kinetic camera with lots of movement in front of the lens within the frame. Basically actors walking with the camera following them, capturing the action.Charles, how did you manage to create high-quality effects on a constrained budget?CHJ // By creating an insanely precise scope-of-work up front. Lots of filmmakers and artists try to find their way towards a design/VFX that they feel works for their film, and if you have that luxury of budget/time, good for you! In our case, with 137 shots on our plate, we had to be extremely precise with what specific angle would require what specific asset(s) (3d plane? particle simulation? MOCAP extras?), and therefore how Jean needed to direct/frame each shot to make sure that later on in post, there wouldnt be some horrible surprise along the lines of: Oh crap Now we need 3 more shots with Edwards Air Force Base when we only had budgeted 4. Or: Should we pan all the way to that mountain over there, where we will have to erase the highway, or can we stop before that? And then you repeat that process times the number of shots in the film until the shotlist matches your budget perfectly. So just very meticulous planning, down to the lens & camera motion for each angle. And thank God, Jean is the kind of director who can both articulate his vision with real clarity yet compromise on the details when required.Can you share any creative solutions or hacks you used to bring this ambitious project to life?JDM // Being passionate, persistent and believing in our vision from beginning to end. Our dedication, determination, focus and sheer will enabled us to convince many to join us on this incredible journey, which was so rewarding.What advice would you give to aspiring filmmakers and VFX artists tackling similar ambitious stories on smaller scales?CHJ // Well, the fundamentals never change so first of all: tell a story that means the world to you; dont try to impress, dont go for the likes or the trend of the moment Say something that you deeply believe in. Always.Secondly: reverse-engineer. Analyze carefully what you can afford to put in front of the camera and prioritize that. VFX should only compliment and elevate the story & the characters; never be the center of attention.Finally, have fun! Smell the roses. Youre in for pain and wounds so, smile along the way and try to achieve the greatest film of course but dont hyper focus on the end result. Enjoy the journey, because thats really all you get.A big thanks for your time.// Edge of Space Trailer// Edge of Space VFX Breakdowns VFX LA Vincent Frei The Art of VFX 2025

UK-based metal 3D printing powder manufacturer Metalysis installed three new Gen 1 units at its Discovery Centre in Catcliffe, Rotherham, increasing its first-stage research capabilities by a third.These Gen 1 R&D systems are used in the first step of Metalysis Fray, Farthing, and Chen (FFC) Cambridge electrolysis method for producing 3D printable metal alloy powders. The process is scaled across the companys Gen 1-4 units, with material output increasing from grams per machine run with the Gen 1, to tens of tonnes per annum via the Gen 4.Metalysis new systems, which bring its total suite of Gen 1 units to 12, have been added in response to unprecedented demand from the high entropy alloy (HEA) and commercial space sectors. They will be used to develop novel materials for advanced applications in hypersonics, defense, clean energy, and spaceWe are delighted to be expanding Metalysis development capabilities by increasing the number of our Gen 1 units by a third. This need for substantial expansion is led by our partners and potential partners particularly in the hypersonics and space sectors who have sourced Metalysis as their global partner for the development and commercial supply of advanced novel materials, commented Nitesh Shah, CEO of Metalysis.As these innovative sectors grow, the need for novel advanced materials increases, and our Gen 1 units will allow us to work with partners on the required physical properties and chemical compositions of their advanced materials, he added.Metalysis Gen 1 units. Photo via MetalysisCreating metal powder with FFC Cambridge Metalysis FFC Cambridge process uses molten salt electrolysis to turn metal oxides into metal powder, bypassing conventional melting techniques. Each unit features a rock salt electrolyte and an anode, with the metal oxide acting as the cathode.When the rock salt is heated between 650-950 with a voltage applied, oxygen is released at the anode, leaving behind a metal sponge. This is crushed, milled, and dried to create an angular metal alloy powder. Earlier this month, Metalysis acquired a 40 kW Tekna spheroidiser to produce spherical powders, which retain unique attributes required by global customers.Metalysis single-stage electrolysis approach requires much lower temperatures and less energy than traditional melting processes, making it more sustainable and affordable. Additionally, hazardous chemicals are not required, enhancing user safety.The companys process is also more adaptable than conventional melting approaches. Bespoke materials can be customized to meet specific customer demands. This flexibility has made Metalysis a key partner in industries like electronics, semiconductors, clean energy, aerospace, and advanced manufacturing, where unique materials are required. Notably, materials can be developed with specific physical properties and chemical compositions, something traditional manufacturers struggle with.Another key advantage is its versatility. The process supports a wide range of precursors, including dry powders, ceramics, reactive gases, and suspensions. It can create powders up to 500 m at feed rates of 510 kg/h and is compatible with both research and production-scale operations.FFC Cambridge is used in Metalysis Gen 1 to Gen 4 systems. Its Gen 1 and 2 units, located at the Catcliffe facility, are used for R&D applications. Gen 3 and 4 are based at the Metalysis Manufacturing Centre in Wath upon Dearneare. These larger, commercial systems tackle the high-volume production of end-use metal powders.Metalysis Gen 4 industrial powder production unit. Photo via Metalysis.Metalysis facing unprecedented demandMetalysis decision to expand its material research and development capabilities comes amid growing demand from advanced industries like hypersonics, aerospace, and defense.These R&D systems serve commercial customers by producing small amounts of material as proof of principle before high-volume production is executed by Metalysis Gen 2-4 units. The ability to trial small batches of expensive metal powder increases flexibility and affordability, meaning customers dont need to contend with large minimum order quantities.The value of the UK-based materials companys offerings has made it a key supplier to the space exploration sector. Metalysis is working with the European Space Agency (ESA) to convert lunar regolith into metal 3D printing alloys. The ESA is developing the FFC Cambridge process at the Gen 1 scale. Concurrently, Metalysis is in conversation with commercial partners to eventually deploy its Gen 2 technology on the lunar surface.By employing an oxygen-evolving anode instead of the conventional carbon alternative, oxygen is released during the companys electrolysis process. This is particularly valuable for in-space manufacturing, as the oxygen can be captured and used to sustain human life.Metalysis new Gen 1 units also seek to address the growing demand for High-entropy alloys (HEA). Traditionally, alloys are created by mixing two metals together, which can result in an uneven material distribution. On the other hand, HEAs feature an equal configuration of elements. As such, alloys can be made with desired attributes spread evenly throughout the material.This offers value for creating feedstocks with strength, ductility, and resistance to fatigue, corrosion, oxidation, and temperature resistance. The company claims this new generation of metals has ushered in a revolution in metallurgy not seen since the Bronze Age.Titanium parts and powder produced by Metalysis. Photo via Metalysis. Manufacturing metal powders at scaleMetalysis is not the only company working to expand the production of 3D printable metal powders to address growing demand.Back in 2023, Montreal-based metal powder producer and plasma torch specialist PyroGenesis received an order for five metric tonnes (5,000 kg) of plasma atomized titanium metal powders used in 3D printing. This was the companys first by-the-tonne order for titanium metal powder. The customer, an advanced materials company in the US, also provisionally ordered an additional six tonnes of the 3D printable powder to meet growing demand.2023 also saw titanium developer IperionX win Phase 1 of the NSIN-sponsored AFRL Reprocessing of Metallic Scrap and Waste Powders Grand Challenge. Through this initiative, the company set out to build equipment and processes for converting scrap titanium into 3D printable powders at scale. To achieve this, it suggested a unique approach to waste recycling, deoxygenating the powder to make it usable.Elsewhere, industrial 3D printing materials manufacturer 6K Additive partnered with French metal 3D printing specialist Z3DLab to manufacture the latters ZTi titanium alloys range of powders. These materials are optimized for 3D printed medical implants and aerospace applications. 6K leveraged its UniMelt technology to process the ZTi alloys, producing dense, spherical powders for use in additive manufacturing. This approach reportedly delivers up to 100% yield, increasing the commercial viability of material production.Who won the 2024 3D Printing Industry Awards?All the news from Formnext 2024.Subscribe to the 3D Printing Industry newsletter to keep up with the latest 3D printing news.You can also follow us on X, like our Facebook page, and subscribe to the 3D Printing Industry Youtube channel to access more exclusive content.Featured image shows Metalysis Gen 1 units. Photo via Metalysis.

Symbioosi (Symbiosis). Images Matias Karsikas, shared with permission Matias Karsikas Merges Diverse Techniques to Reimagine Natural SurfacesJanuary 22, 2025CraftNatureJackie AndresListening to the material is a central principle in my work, Matias Karsikas says. Combining elements of glass, wood, and ceramics, the Helinski-based artist draw upon natures persistence despite human intervention.Karsikas botanical sculptures rest between artificial and organic. While bold hues of hand-blown glass neatly bloom into symmetrical petals and small bits of fired clay rhythmically protrude to resemble disc florets, fragments of untreated wood create a contrast that challenges the harmony between naturally occurring components of flora and fabricated representations of it.Suonkukka (Marsh Flower)These works do not directly depict figures or landscapes but instead draw inspiration from nature through textures and surfaces, Karsikas explains. For instance, more complex finishes of mottled, green huesas seen in pieces such as Jkl and Sammalare a result of the artist developing his own glazes to mimic surfaces similar to lichen and moss. His first major public work, Peukaloisen puutarha, rests on a Helsinki daycare center wall. Translating to Little Thumblings Garden, the installation includes an abundance of pickings such as embellished flowers, a berry cluster, and peas. Playing with scale is intended to evoke memories of childhood, Karsikas shares. It was a time when everything seemed bigger, more magical, and more exciting.Having recently concluded his first major exhibition at the Finnish Glass Museum, Karsikas is currently working on two forthcoming public artworks. Follow his Instagram for updates, and see his website for more work.Kultaa ja Kukkia (Gold and Flowers)Jkl (Lichen)Filigraanikukka (Filigree Flower)Sammal (Moss)Pivnsde ja Menninkinen (The Sunbeam and the Goblin)Peukaloisen puutarha (Little Thumblings Garden), photo by HAM / Sonja HyytiinenDetail of Peukaloisen puutarha (Little Thumblings Garden), photo by HAM / Sonja HyytiinenAmetistikukka (Amethyst Flower)Next article

Artificial Intelligence Newsletter Fox News AI Newsletter: Tech titans sound off on Trump's AI project Stay up to date on the latest AI technology advancements and learn about the challenges and opportunities AI presents By Fox News Staff Fox News Published January 22, 2025 12:08pm EST close AI execs defend Trump Stargate project: 'This is a very large investment that affects all of humanity' OpenAI CEO Sam Altman, Oracle founder Larry Ellison and SoftBank CEO Masayoshi Son comment on President Trumps Stargate AI investment project on Special Report. Welcome to Fox News Artificial Intelligence newsletter with the latest AI technology advancements.IN TODAYS NEWSLETTER:- AI executives praise Trump's Stargate project: 'This is a very large investment that affects all of humanity'- Trump announces major AI infrastructure investment involving Softbank, OpenAI and Oracle- AI company Perplexity bids to merge with TikTok to avoid ban: report- Chinese tech firm shares robot training secrets with the world President Donald Trump announced a major AI infrastructure investment involving Softbank, OpenAI and Oracle. (Chip Somodevilla/Getty Images/Bloomberg via Getty Images)'FOR THE GOOD OF HUMANITY': The three tech CEOs who have joined forces in President Donald Trump's multi-billion dollar artificial intelligence infrastructure project defended the venture as an investment that "impacts all of humanity."POWERING UP: President Donald Trump unveiled a massive artificial intelligence infrastructure project from the private sector on the first full day of his second term in office on Tuesday. Humanoid robot training (AgiBot)TIME'S UP: Artificial intelligence company Perplexity AI has bid to merge with TikTok U.S., so the video sharing platform can avoid being banned in the country, according to a report.ROBOT TRAINING SECRETS: AgiBot, a pioneering Chinese artificial intelligence and robotics company, has introduced a transformative open-source dataset called AgiBot World Alpha. Network of mesh lines forming brains of different sizes in dark background with red and yellow glowing particles. Illustration of the concept of artificial intelligence, ideas and creativity FOLLOW FOX NEWS ON SOCIAL MEDIASIGN UP FOR OUR OTHER NEWSLETTERSDOWNLOAD OUR APPSWATCH FOX NEWS ONLINEFox News GoSTREAM FOX NATIONFox NationStay up to date on the latest AI technology advancements and learn about the challenges and opportunities AI presents now and for the future with Fox Newshere. This article was written by Fox News staff.

Androm - stock.adobe.comNewsCMA adds ex-Amazon UK boss to board as provisional judgement in cloud probe nearsThe former UK boss of Amazon UK has joined the CMA as its interim chairByCaroline Donnelly,Datacentre Editor Published: 22 Jan 2025 16:45 The Competition and Markets Authority (CMA) has appointed former Amazon UK boss, Doug Gurr, to chair its board on an interim basis, as the deadline for the organisation to publish the provisional findings from its long-running investigation into the UK cloud market nears.The UK competition watchdog confirmed on Tuesday 21 January 2024 that Gurr will replace current CMA chair Marcus Bokkerink, who has held the five-year position since 2022.The reasons why Bokkerink has tendered his resignation for the role two years before the expected end of his tenure are unclear, but his departure comes at a time when the UK government is pushing regulators to take a more pro-growth approach to the work they do.To this point, the CMA announcement about Gurrs appointment states the news comes hot on the heels of a meeting between business secretary, Jonathan Reynolds, and the countrys leading regulators who were asked to tear down the barriers hindering business and refocus their efforts on promoting growth.In a statement announcing Gurrs appointment, Reynolds confirmed work is already underway to recruit a permanent replacement for Bokkerink.The government has a clear plan for change to boost growth for business and communities across the UK, said Reynolds.As weve set out, we want to see regulators including the CMA supercharging the economy with pro-business decisions that will drive prosperity and growth, putting more money in peoples pockets.Gurr is the current director of the National History Museum and until November 2020 served as country manager of online retail giant Amazon UK.I am honoured to be asked to chair the CMA at this crucial time, said Gurr in a statement. I look forward to working with the strong leadership team to help deliver business investment and economic growth in a framework of effective competition and consumer protection.Gurrs appointment comes days before the CMA is expected to release details of the provisional outcome of its long-running investigation into the cloud infrastructure services market, which includes scrutiny of whether Amazons cloud arm has indulged in anti-competitive behaviour.However, while Gurr is joining the CMA as chair, it is know that the team overseeing the cloud infrastructure services market probe operates separately to the organisations board.In response to the news of Gurrs appointment, Nicky Stewart, senior adviser to the Open Cloud Coalition, said that with the CMAs cloud market investigation entering a critical phase, it is important there is no deviation in the regulators commitment creating a more competitive cloud market.We urge the regulator to stay the course and take decisive action to create a fairer, more competitive cloud market that benefits businesses, consumers and the wider digital economy, said Stewart.The cloud industry can only flourish when there is a level-playing field, and as outlined in our position paper, meaningful intervention is essential to unlocking innovation and investment across the sector.Computer Weekly contacted the CMA for a statement about whether Gurrs appointment might leave the organisation open to conflict of interest accusations, but no public comment was forthcoming.Read more about the CMA investigation into the cloud services marketThe CMA published the summary hearings from Microsoft, AWS and Google this week, which revealed all three had quite a lot to say on the Redmond software giants cloud licensing practices.After regulator Ofcom raised red flags about the anti-competitive behaviour of Amazon Web Services and Microsoft, the UK cloud market was referred to the Competition and Markets Authority heres why.In The Current Issue:Can the UK government achieve its ambition to become an AI powerhouse?A guide to DORA complianceDownload Current IssueData engineering - Alteryx: Investing for scale with an eye on value CW Developer NetworkData engineering - Nutanix: All engineering starts with infrastructure CW Developer NetworkView All Blogs

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