Good News Colon cancer recurrence and deaths cut 28% by simple exercise, trial finds Any type of aerobic exercise works for the improvements, study finds. Beth Mole – Jun 2, 2025 6:05 pm | 42 Credit: Getty | Oli Kellett Credit: Getty | Oli Kellett Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Exercise is generally good for you, but a new high-quality clinical trial finds that it's so good, it can even knock back colon cancer—and, in fact, rival some chemotherapy treatments. The finding comes from a phase 3, randomized clinical trial led by researchers in Canada, who studied nearly 900 people who had undergone surgery and chemotherapy for colon cancer. After those treatments, patients were evenly split into groups that either bulked up their regular exercise routines in a three-year program that included coaching and supervision or were simply given health education. The researchers found that the exercise group had a 28 percent lower risk of their colon cancer recurring, new cancers developing, or dying over eight years compared with the health education group. The benefits of exercise, published in the New England Journal of Medicine, became visible after just one year and increased over time, the researchers found. The rate of people who survived for five years and remained cancer-free was 80.3 percent among the exercise group. That's a 6.4 percentage-point survival boost over the education group, which had a 73.9 percent cancer-free survival rate. The overall survival rate (with or without cancer) during the study's eight-year follow-up was 90.3 percent in the exercise group compared with 83.2 percent in the education group—a 7.1 percentage point difference. Exercise reduced the relative risk of death by 37 percent (41 people died in the exercise group compared with 66 in the education group). "The magnitude of benefit from exercise ... was similar to that of many currently approved standard drug treatments," the researchers noted. However, the exercise routines that achieved those substantial benefits weren't heavy-duty. Participants were coached to perform any recreational aerobic exercise they enjoyed, including brisk walking. Adding 45- to 60-minute brisk walks three or four times a week, or three or four jogs lasting 25 to 30 minutes, was enough for many of the participants to improve their odds. Overall, the goal was to get the exercise group over 20 MET hours per week. METs are Metabolic Equivalents of Task, which represent the amount of energy your body is burning up compared to when you're at rest, sitting quietly. Brisk walking is about four METs, the researchers estimated, and jogging is around 10 METs. To get to 20 MET hours a week, a participant would have to do five hours of brisk walking a week (e.g., five hour-long walks a week) or jog for two hours a week (e.g., four 30-minute jogs per week). “Quite impressive” The exercise group, which had supervised exercise for the first six months of the three-year intervention, reported more exercise over the study. At the end, the exercise group was averaging over 20 MET hours per week, while the education group's average was around 15 MET hours per week. The exercise group also scored better at cardiorespiratory fitness and physical functioning. Still, with the health education, the control group also saw a boost to their exercise during the trial, with their average starting around 10 MET hours per week. These findings "raise the possibility of an even more powerful effect of exercise on cancer outcomes as compared with a completely sedentary control group," the researchers note. For now, it's not entirely clear how exercise keeps cancers at bay, but it squares with numerous other observational studies that have linked exercise to better outcomes in cancer patients. Researchers have several hypotheses, including that exercise might cause "increased fluid shear stress, enhanced immune surveillance, reduced inflammation, improved insulin sensitivity, and altered microenvironment of major sites of metastases," the authors note. In the study, exercise seemed to keep local and distant colon cancer from recurring, as well as prevent new cancers, including breast, prostate, and colorectal cancers. Outside experts hailed the study's findings. "This indicates that exercise has a similarly strong effect as previously shown for chemotherapy, which is really quite impressive," Marco Gerlinger, a gastrointestinal cancer expert at Queen Mary University of London, said in a statement. "One of the commonest questions from patients is what they can do to reduce the risk that their cancer comes back. Oncologists can now make a very clear evidence-based recommendation." "Having worked in bowel cancer research for 30 years, this is an exciting breakthrough in the step-wise improvement in cure rates," David Sebag-Montefiore, a clinical oncologist at the University of Leeds, said. "The great appeal of a structured moderate intensity exercise is that it offers the benefits without the downside of the well-known side effects of our other treatments." Beth Mole Senior Health Reporter Beth Mole Senior Health Reporter Beth is Ars Technica’s Senior Health Reporter. Beth has a Ph.D. in microbiology from the University of North Carolina at Chapel Hill and attended the Science Communication program at the University of California, Santa Cruz. She specializes in covering infectious diseases, public health, and microbes. 42 Comments

Photo credit: Checkwitch Poiron Architects Discover Montessori School, a project by Checkwitch Poiron Architects, consists of a 10-classroom Montessori farming school on the Agricultural Land Reserve outside of Nanaimo, on Vancouver Island. The client was committed to the idea of sustainability embedded in the Montessori principles of interconnectedness, citizenship and minimalism. Photo credit: Checkwitch Poiron Architects The zoning required that the site be easily returnable to farm use and more specifically precluded the use of a concrete slab on grade. This led Checkwitch Poiron Architects to identify low carbon construction as an achievable sustainable target. The budget was limited, and as such, all design decisions considered the implications on cost, schedule and carbon footprint. This included an analysis of various foundation strategies, including concrete piers and helical piles, prepared by structural engineers Fast and Epp with life cycle analysis by Introba. Photo credit: Checkwitch Poiron Architects The design uses recycled Douglas Fir floorboards as exterior cladding, and interior corridors are lined with Hemlock tiles using waste diverted from a lumber mill. The mechanical consultant (Introba) used the correlation between low precipitation levels and low school use during summer months to design one of the first rainwater catchment systems in British Columbia to be certified for commercial use. Photo credit: Checkwitch Poiron Architects This project demonstrates how low-carbon and sustainable construction can be achieved, despite budget limitations, by identifying opportunities and the use of practical, cost efficient design. Discover Montessori recently achieved CAGBC Zero Carbon Building Standard Certification, was the Overall Winner of the Vancouver Island Commercial Building Awards, and was awarded the BC Embodied Carbon Award for Large Buildings by the Carbon Leadership Forum (CLF). Photo credit: Checkwitch Poiron Architects The project also incorporates water-saving design strategies and collects rainwater for potable water use, as the first project of this kind approved in BC. Photo credit: Checkwitch Poiron Architects Technical Sheet: Location: Nanaimo, BC Client: Discover Montessori Size: 12,492 sf Status: Completed 2023 The post Discover Montessori School achieves CAGBC Zero Carbon certification appeared first on Canadian Architect.

Nightlords are arguably the hardest enemies in Elden Ring Nightreign — powerful, nerve-racking bosses who show up at the very end of your runs. All the preparation you go through during the first two days of a match in Elden Ring Nightreign — from farming runes to looking for ways to upgrade your weapons — is in service of one goal: getting strong enough to beat the Nightlord of your run. Each boss has their own dedicated mechanics and weaknesses, and you can tackle (most) of them in the order you see fit. In this Elden Ring Nightreign guide, we’ll go over our recommendation of the the best Nightlords order so you know which boss fights to prioritize.  Best Nightlords boss fight order in Elden Ring Nightreign  The best Nightlords order in Elden Ring Nightreign is a subjective matter, largely up to your individual class, equipment, and personal adeptness with each character. That said, we’ve assembled guide to present what would be, in our opinion, the fights you should focus on first to build up confidence and accumulate knowledge about the game. In general, the better-prepared you are for each fight, the better you’ll fare. But some Nightlords are less forgiving than others if you reach the final day under-leveled or under-equipped. Along the same lines, we consider bosses who can inflict detrimental effects more difficult to prepare for than those who you can defeat simply by mastering their mechanics. And then, of course, there’s the huge matter that all of this — as with all things Nightreign — is contingent on whether or not your teammates actually collaborate with you. With all this in mind, below, here’s our recommendation for the best Nightlords order in Elden Ring Nightreign, with their respective expedition names in parentheses. Gladius, Beast of Night (Tricephalos) Gnoster, Wisdom of Night (Sentient Pest) Maris, Fathom of Night (Augur) Adel, Baron of Night (Gaping Jaw) Caligo, Miasma of Night (Fissure in the Fog) Libra, Creature of Night (Equilibrious Beast) Fulghor, Champion of Nightglow (Darkdrift Knight) Heolstor the Nightlord (Night Aspect) Gladius, Beast of Night (Tricephalos) There isn’t much to say here because you can’t actually choose not to face Gladius, Beast of Night first. Tricephalos is the first expedition you have access to and the other expeditions won’t become available until you have defeated them. Use your first runs against this Nightlord to learn your way through Limveld. Gnoster, Wisdom of Night (Sentient Pest) It might sound contradictory to face a duo boss after beating Gladius, Beast of Night. Tracking two enemies is challenging and requires you to know the limits of your class. Even so, you should still pick Sentient Pest as your second expedition and fight Gnoster, Wisdom of Night. There are two main reasons for that. First, almost none of their attacks are capable of instantly killing you unless you’re under level 10. They don’t require you to have specific resistances or weapons either. If you’re playing a melee class, you just need to have patience until Gnoster gets closer and wait for a good window to attack.  The second reason is Gnoster’s weaknesses. Fire damage is extremely strong against it and it is easy to find a weapon that causes fire damage; throwing pots or Fire Grease, a consumable that makes your weapon cause elemental damage for a period of time. Maris, Fathom of Night (Augur) The only reason why we suggest tackling Maris, Fathom of Night (from the Augur expedition) after Gnoster is that this boss constantly applies sleep, dealing a lot of damage and leaving you exposed to follow-up attacks. Nevertheless, after enough matches, you’ll have obtained enough Relics, some of which can come with sleep resistance, removing a challenging factor of this fight.  When it comes to mechanics, there are just a couple of attacks to watch out for. Kill or dodge the small jellyfish the boss sends your way and run from the shining one, since it nukes a large area. Their main attacks are clearly telegraphed so there isn’t much to worry about on that front. Learn their patterns and defeat your third boss. Adel, Baron of Night (Gaping Jaw) Although the Gaping Jaw is the expedition Nightreign suggests tackling after Gladius, we’d suggest waiting to fight Adel, Baron of Night until you become more familiar with the game. Adel deals a lot of damage with their bite attack, which causes blood loss, a major threat if you don’t have a lot of health. In general, Adel’s attacks can really pin you down, but when the boss enters its second phase, it becomes a real nightmare. To make your life easier, you can use poison against the boss, but this is a type of elemental damage difficult to find weapons with or greases to apply. In other words, you will probably have to face the boss without relying on exploiting any weakness.  Caligo, Miasma of Night (Fissure in the Fog) Fighting a giant prehistoric dragon is never a good idea, but Caligo, Miasma of Night, the Nightlord you must fight in the Fissure in the Fog expedition, could be worse. To prepare for this fight, farm runes to reach level 12 or higher.  Once you know how to handle Caligo’s attacks, this gigantic dragon becomes less of a threat, but knowing the fight is not enough to survive. During the match, watch out for elemental resistances that might drop from minor bosses. Caligo’s attacks can inflict Frostbite and they cover large areas of the arena, so you’ll probably get hit by them. You also want to come with strong weapons capable of causing fire damage.  Libra, Creature of Night (Equilibrious Beast) The Equilibrious Beast expedition, where you must fight Libra, Creature of Night, is presents a notable step-up in difficulty compared to the previous fights. The most challenging aspect of this fight is in the preparation: Most of Libra’s attacks inflict madness and there aren’t many methods to prevent it. They are also weak to madness, but you’ll need to find the right incantation to cause that type of damage. Most importantly, there isn’t a safe spot to hide in this fight. Libra is fast, can teleport next to their target, and unleashes lengthy, quick sequences of attacks with their staff. Finding the right window to heal is difficult, because they can cast long-range area-of-effect attacks that hit many places in the arena. Beating Libra is a matter of farming, learning the fight, and luck. Fulghor, Champion of Nightglow (Darkdrift Knight) Among the bosses in Elden Ring Nightreign, very few are as punitive as Fulgor, Champion of Nightflow. This one-arm centaur is waiting for you in the Darkdrift Knight expedition and facing them will test all you’ve learned so far. Exploiting Fulghor’s weakness to lightning damage is a must, but the challenge here involves actually hitting them while avoiding their massive area attacks or quick thrusts.  You need to know how to farm well for this fight and memorize Fulghor’s attack pattern if you plan on completing this expedition. Fulghor causes a lot of damage, making you run out of flasks pretty fast if you don’t dodge at the right time. In addition, during the second phase, Fulghor becomes more brutal with a complex combination of short and long-distance attacks. Heolstor the Nightlord (Night Aspect) Just like Gladius had to go first, you can’t avoid saving the Night Aspect expedition for last since it is the last one you unlock and where you must fight Heolstor the Nightlord. Be sure to have sourced the best gear and achieved the highest level you can before facing this one. For more Elden Ring Nightreign guides, here’s how to change skins, what “memory fragment found” means, and a list of the best rune farming locations.

Editor’s note: This blog, originally published on October 28, 2024, has been updated. Financial losses from worldwide credit card transaction fraud are projected to reach more than $403 billion over the next decade. The new NVIDIA AI Blueprint for financial fraud detection can help combat this burgeoning epidemic — using accelerated data processing and advanced algorithms to improve AI’s ability to detect and prevent credit card transaction fraud. Launched this week at the Money20/20 financial services conference, the blueprint provides a reference example for financial institutions to identify subtle patterns and anomalies in transaction data based on user behavior to improve accuracy and reduce false positives compared with traditional methods. It shows developers how to build a financial fraud detection workflow by providing reference code, deployment tools and a reference architecture. Companies can streamline the migration of their fraud detection workflows from traditional compute to accelerated compute using the NVIDIA AI Enterprise software platform and NVIDIA accelerated computing. The NVIDIA AI Blueprint is available for customers to run on Amazon Web Services, with availability coming soon on Dell Technologies and Hewlett Packard Enterprise. Customers can also use the blueprint through service offerings from NVIDIA partners including Cloudera, EXL, Infosys and SHI International. Businesses embracing comprehensive machine learning (ML) tools and strategies can observe up to an estimated 40% improvement in fraud detection accuracy, boosting their ability to identify and stop fraudsters faster and mitigate harm. As such, leading financial organizations like American Express and Capital One have been using AI to build proprietary solutions that mitigate fraud and enhance customer protection. The new AI Blueprint accelerates model training and inference, and demonstrates how these components can be wrapped into a single, easy-to-use software offering, powered by NVIDIA AI. Currently optimized for credit card transaction fraud, the blueprint could be adapted for use cases such as new account fraud, account takeover and money laundering. Using Accelerated Computing and Graph Neural Networks for Fraud Detection Traditional data science pipelines lack the compute acceleration to handle the massive data volumes required for effective fraud detection. ML models like XGBoost are effective for detecting anomalies in individual transactions but fall short when fraud involves complex networks of linked accounts and devices. Helping address these gaps, NVIDIA RAPIDS — part of the NVIDIA CUDA-X collection of microservices, libraries, tools and technologies — enables payment companies to speed up data processing and transform raw data into powerful features at scale. These companies can fuel their AI models and integrate them with graph neural networks (GNNs) to uncover hidden, large-scale fraud patterns by analyzing relationships across different transactions, users and devices. The use of gradient-boosted decision trees — a type of ML algorithm — tapping into libraries such as XGBoost, has long been the standard for fraud detection. The new AI Blueprint for financial fraud detection enhances the XGBoost ML model with NVIDIA CUDA-X Data Science libraries including GNNs to generate embeddings that can be used as additional features to help reduce false positives. The GNN embeddings are fed into XGBoost to create and train a model that can then be orchestrated. In addition, NVIDIA Dynamo-Triton, formerly NVIDIA Triton Inference Server, boosts real-time inferencing while optimizing AI model throughput, latency and utilization. NVIDIA CUDA-X Data Science and Dynamo-Triton are included with NVIDIA AI Enterprise. Leading Financial Services Organizations Adopt AI During a time when many large North American financial institutions are reporting online or mobile fraud losses continue to increase, AI is helping to combat this trend. American Express, which began using AI to fight fraud in 2010, leverages fraud detection algorithms to monitor all customer transactions globally in real time, generating fraud decisions in just milliseconds. Using a combination of advanced algorithms, one of which tapped into the NVIDIA AI platform, American Express enhanced model accuracy, advancing the company’s ability to better fight fraud. European digital bank bunq uses generative AI and large language models to help detect fraud and money laundering. Its AI-powered transaction-monitoring system achieved nearly 100x faster model training speeds with NVIDIA accelerated computing. BNY announced in March 2024 that it became the first major bank to deploy an NVIDIA DGX SuperPOD with DGX H100 systems, which will help build solutions that support fraud detection and other use cases. And now, systems integrators, software vendors and cloud service providers can integrate the new NVIDIA blueprint for fraud detection to boost their financial services applications and help keep customers’ money, identities and digital accounts safe. Explore the NVIDIA AI Blueprint for financial fraud detection and read this NVIDIA Technical Blog on supercharging fraud detection with GNNs. Learn more about AI for fraud detection by visiting the AI Summit at Money20/20, running this week in Amsterdam. See notice regarding software product information.

In the centre of the building, a ceremonial room is a calming space that invites community meetings and healing.   TEXT Elsa Lam PHOTOS doublespace photography Fifty years ago, four grandmothers founded the organization Anduhyaun—Ojibwe for “Our Home”—to respond to the needs of the city’s Indigenous women. The organization used a city-owned heritage house in the Annex to offer shelter to women and children suffering from the traumas of violence and homelessness. Last year, they moved to a building designed by LGA Architectural Partners.  The architects took the organization’s name to heart, aiming to provide not just basic shelter, but a place of nurture and grounding. The organization’s long-time executive director, Blanche Meawassige, told the designers that the building needed to feel like it was alive. “From Blanche, we understood that a shelter is a place where rehabilitation—growth and healing—begins,” says architect Brock James, partner at LGA. “Yes, it’s a roof over your head and safety, but it’s also where that spiritual part starts; it has to be about growth and life.” A curved ceiling-to-wall transition brings a unique quality to the bedrooms This thinking shows in the bedrooms, 16 of which are compact, single-occupancy rooms and two of which are designed for families with up to three kids. (Some rooms can also be interconnected, to accommodate larger families or to provide a physical link between friends.) Each room has its own bathroom, a wooden desk, adjustable lighting, and a curved ceiling-to-wall transition that reflects daylight through the space. The curve, says James, “makes the room very ‘here’. It’s only here. It’s not generic.” Curved, tiled walls define the circulation areas on the ground floor Curves recur on the main floor, where seafoam-coloured tiles sweep along flowing walls, adding to the building’s sense of aliveness and alluding to Indigenous teachings about water. The curves lead to a large communal kitchen and a central ceremonial space, currently known as Nookomis, or “grandmother.” The interior of Nookomis, the building’s main ceremonial space Many details illustrate LGA’s commitment to creating specialness with economical means. Nookomis, for instance, is clad with cedar shingles that came in pre-cut profiles. (“It’s just a matter of coming up with a pattern, which I did in my living room during the pandemic,” says James.) The burgundy walls of Nookomis’s interior are made, in part, with a simple foam in a custom colour. (“It’s a straightforward product that’s not good if you were touching it—but up high, controlling the sound, it works.”) A skylight caps the space, like a full moon casting a soft glow from above. Meawassige originally asked for the outside of the building to be anonymous, but later decided that the Indigeneity of the interior should be expressed outside, too. The architects created a design with a similarly elevated attention to detail. They achieved a high level of airtightness in the envelope, and composed a façade made out of standard Vicwest metal, applied in a pattern that ensures that the 300-mm width of the panels would stay intact, with no cuts.   “Good design, an elevated section, beautiful tiles: it’s things like that that makes it feel like somebody cares,” says James. “When I think about aesthetics, we can have lots of stories about them, but I know that it’s communicating that Anduhyaun cares. This is their building, and it’s emoting that they care.”  As appeared in the June 2025 issue of Canadian Architect magazine  The post Our Home, Toronto, Ontario appeared first on Canadian Architect.

Thrustmaster T598 + Hypercar Wheel review: a great value PC/PS5 sim racing wheel and pedals built on novel tech Direct axial drive impresses, despite limited software and a firmly mid stock wheel. Image credit: Digital Foundry Review by Will Judd Deputy Editor, Digital Foundry Published on June 1, 2025 We've seen an explosion in the number of affordable direct drive (DD) racing wheels over the past couple of years, with Fanatec and Moza offering increasingly inexpensive options that still deliver the precise, quick and long-lasting force feedback that cheaper gear- or belt-driven wheels can't match. Now, Thrustmaster is intruding on that territory with the T598, a PlayStation/PC direct drive wheel, wheel base and pedals that costs just £449/$499. That's on a similar level to the PC-only £459/$599 Moza R5 bundle and the €399/$569 Fanatec CSL DD bundle, so how does the newcomer compare? And what's changed from the more expensive T818 we reviewed before? We've been testing the T598 - and the fancy upgraded HyperCar wheel that's available as an upgrade option - for weeks to find out. Our full review follows, so read on - or check out the quick links below to jump to what you're most interested in. To see this content please enable targeting cookies. Thrustmaster T598 wheel base review: direct axial drive vs traditional direct drive Interestingly, the T598 arguably comes with a more advanced DD motor than the more expensive T818 does. It uses a "direct axial drive" versus the standard "direct radial drive", where the magnets are aligned parallel to the wheel shaft rather than perpendicular (see the diagram below). This ought to allow for more efficient torque generation, producing less waste heat, minimising precision-sapping magnetic interference and requiring less copper to produce. It also means the T598 can "overshoot" to deliver more than its rated 5nm of constant torque for short periods. However, this design also requires a physically taller yet slimmer enclosure (measuring 210x210x120mm), potentially blocking the view forward and requiring a different bolt pattern to attach the base to your desk or sim racing cockpit - both of which are slight annoyances with the T598. (You do get an angle bracket to allow for wider and potentially more compatible holes for your cockpit... but this makes the tall wheel base even taller. Table clamps are also included.) Interestingly, you can also feel a slight vibration and hear a quiet crackling noise emanating from the T598 base while idle - something I haven't heard or felt with other direct drive motors and is reportedly inherent to this design. There's a lot going on inside this wheel base - including some genuine innovation. | Image credit: Thrustmaster/Digital Foundry Thrustmaster has written a pair of white papers to explain why their take on direct drive ("axial flux") is better than what came before ("radial flux"). Image credit: Thrustmaster In terms of the force feedback itself, Thrustmaster have achieved something quite special here. In some titles with a good force feedback implementation - Assetto Corsa, Assetto Corsa Evo and F1 23 stood out to me here - the wheel feels great, with strong force feedback and plenty of detail. If you run up on a kerb or start to lose traction, you know about it right away and can take corrective action. I also appreciated the way that turning the wheel feels perfectly smooth when turning, without any cogging - the slightly jerky sensation common to low-end and mid-range direct drive motors that corresponds to slight attraction as you pass each magnet. However, balancing this, the wheel's force feedback feels a little less consistent than others I've tested from the likes of Fanatec or Moza at a similar price point, with some games like Project Cars 3 and Forza Motorsport feeling almost bereft of force feedback by comparison. You also have that slight vibration when the wheel is stationary, which is potentially more noticeable than the cogging sensation in traditional DD designs. The overshoot is also a mixed bag - as the sudden jump in torque can feel a little artificial in some scenarios, eg when you're warming your tyres by weaving in F1 before a safety car restart. I'd say that these positives and negatives largely cancel each other out, and you're left with force feedback that is good, way better than non-DD wheels, but not noticeably better than more common radial direct drive designs. Depending on the games you play, either DD style could be preferable. It'll be interesting to see if Thrustmaster are able to tune out some of these negative characteristics through firmware updates - or simply in later products using the same technology. 1 of 7 Caption Attribution Here's how the T598 looks IRL - from the wheel base itself to the default rim, the upgraded Hypercar wheel and the included dual pedals. Click to enlarge. Apart from the novel motor, the rest of the wheel base is fairly standard - there's a small (colour!) display on the top for adjusting your settings and seeing in-game info like a rev counter, four large circular buttons buttons (L3, R3, Mode and Settings), the usual Thrustmaster quick release lock for securing your wheel rim and a small button on the back to turn the wheel base on and off. There are connection options for power, USB and connecting other components like pedals or shifters on the back too. Weirdly, there's no ability to change settings in the PC Thrustmaster Panel app - it just says this functionality is "coming soon!" - so right now you can only use it for updating firmware, testing buttons and changing between profiles. "Coming soon!" starts to become a little less believable six months after the first reviews hit. | Image credit: Digital Foundry Instead, you'll be using the built-in screen for making changes, which works well enough but doesn't provide any allowance for extra information - so you'll be sticking to the four basic pre-made profiles, referring to the manual or checking suggested setups online rather than reading built-in tool tips. You still get access to the full whack of settings here, and of course this works well for PS5/PS4 users who wouldn't expect a software experience anyway, but PC users may be disappointed to learn that there's no intuitive software interface here. I found the Boosted Media YT review of the wheelbase to offer some good insight into what settings you're likely to want to change from their default values. Thrustmaster T598 Sportcar wheel review: a workable default option The Sportcar wheel rim looks good - but a plastic construction and relatively spartan controls make it "OK" at best. The "Sportcar" wheel provided in the bundle is a little less impressive-looking than the base itself, with a plasticky feel throughout and fairly mushy buttons - though the paddles are snappy enough and feel good to use. The usual PS-style face buttons are split into two clumps up top with L2 and R2, which is a bit odd, with four individual directional buttons in the lower left, start/select/PS in the lower middle and four configuration buttons in the lower right. Those configuration buttons require extra explanation, so here we go: the P button at the top swaps between four different pages, indicated with a different colour LED, allowing the remaining three physical buttons to activate up to 12 different functions. (The Fanatec GT DD Pro, by contrast, has dedicated five-way controls for each of its four functions. This costs more to produce, but allows you to use the controls without looking down to see what coloured light is active.) There are no rotary encoders or other additional controls here, so PC players that prefer more complicated racing sims may feel a bit underserved by this clunky, cost-saving solution. The 815g wheel is at least sized reasonably, with 300mm circular shape that particularly suits drifting, rally and trucking - though all forms of driving and racing are of course possible. The rubber grips under your hands are reasonably comfortable, but you can still feel seams in various places. Overall, the wheel is possibly the weakest part of the package, but perfectly usable and acceptable for the price point. Thrustmaster Hypercar Wheel Add-On review: true luxury An incredible wheel with premium materials, excellent controls and a more specialised shape. Thrustmaster also sent over the £339/$350 Hypercar wheel rim for testing, which is an upgrade option that uses significantly better materials - leather, alcantara, aluminium and carbon - and offers a huge number of extra controls (25 buttons, including four rotary encoders and two pairs of analogue paddles). Its oval shape feels a bit more responsive for faster vehicles (like F1 cars) that require a quick change of direction, but drifting and rally doesn't feel natural. It supports the same PS4, PS5 and PC platforms as the stock option, but there are no legends printed on the buttons to help you. The difference in quality here is immediately apparent, with much better tactile feedback from the buttons and a huge number of additional controls for adjusting stuff like ERS deployment or brake bias. Each control feels well-placed, even if the T-shaped layout for the face buttons is slightly unnatural at first, and the paddles for shifting and the clutch are particularly well engineered. I also found holding the wheel a bit more comfortable thanks to that flattened out shape, the more premium materials and the absence of bumps or seams anywhere you're likely to hold. It's a huge upgrade in terms of feel and features then, as you'd hope for a wheel rim that costs nearly as much as the entire T598 kit and caboodle. As an upgrade option, I do rate it, though it perhaps makes slightly more sense for T818 owners that have already invested a bit more in the Thrusmaster ecosystem. Regardless, it was this rim that I used for the majority of my time with the T598, and the wheel base feels significantly better with the upgrade. Thrustmaster T598 Raceline pedals review: great feedback, but no clutch and no load cell upgrade offered at present Surprisingly good for two add-in pedals, in terms of feedback and flexibility. The pedals that come with the T598 are surprisingly good, with an accelerator, a brake pedal (with a choice of two different spring options) and no clutch pedal. Each pedal's spring assembly can be pushed into one of three positions to change the amount of pre-load - ie make it a bit softer or harder to press and the pedal plates can be shifted up and down. The narrow dimensions of the metal wheel plate meant that it was impossible to mount directly in the centre of the Playseat Trophy I used for testing, but the slightly off-centre installation I ended up with still worked just fine. They connect using a non-USB connection, so you can't use the pedals with other wheel bases. Using the middle distance setting and the firmer of the two springs for the brake, I found the T598 produced good results, on par or perhaps even a tad better than other metal-construction Hall Effect position sensor (ie non-load cell) pedals I've tested such as the Moza SR-P Lite and Fanatec CSL. Braking is the critical point here, as you want to be able to feel when the brake has mechanically reached its threshold and then modulate your inputs from there, and the T598 pedals do allow for this quite easily. They're also not so hard to actuate that you end up having to hard-mount them to a sim rig for good results, and the included carpet spikes are reasonably effective in keeping the pedals in place. Presumably, it ought to be possible to add on a load cell brake pedal down the line to upgrade to a proper (if slightly cramped) three pedal setup. For the F1 style driving that I prefer, the clutch pedal isn't used anyway, so it wasn't a massive issue for me - and we frequently see companies like Moza and Fanatec drop the clutch pedal on these aggessively priced bundles so Thrustmaster aren't losing ground by following suit. Thrustmaster T598 final verdict: a competitive £450 package with potential For PlayStation owners, this is an incredible value pickup that ranks among the cheapest DD options - and PC owners ought to consider it too. For £449/$499, the Thrustmaster T598 is an excellent value direct drive wheel and pedal bundle for PlayStation and PC with some relatively minor quirks. The wheel base is powerful, detailed and responsive in most games, with some advantages over traditional DD designs but also some disadvantages - notably the taller shape and a slight hum/vibration while stationary. Traditional DD designs from the likes of Fanatec and Moza can offer more reliable force feedback that works over a wider range of games, cars and tracks, while also benefitting from better PC software, but there's certainly potential for Thrustmaster to improve here. The included wheel feels a bit cheap, with a predominantly plastic design, spongey buttons and a slightly odd layout, but the full circle shape and full PS5/PS4 compatibility is most welcome. Upgrading to the HyperCar wheel provides a huge uptick in materials, tactile feedback and number of controls, though this does come at a fairly steep price of £339/$350. If you plan to use the T598 for years and have the budget for it, this is a super upgrade to aim for. The included Raceline LTE pedals are the most surprising element for me. These consist of only an accelerator and a brake with only moderate adjustability and a narrow base plate, but they feel great to use, are made from durable metal with HE sensors, and only really lose out to significantly more expensive load cell options. For an add-in for a relatively cheap DD bundle, they're a solid inclusion, and I hope Thrustmaster release a load cell brake pedal for users to upgrade to a better three-pedal setup later. Overall, it's an competitive first outing for Thrustmaster with the T598 and direct axial drive, and I'm curious to see where the company - and the tech - goes from here. With Fanatec still on the rebuild after being acquired by Corsair and Moza's offerings being hard to order online in some regions, Thrustmaster has a golden opportunity to seize a share of the mid-range and entry-level sim racing market, and the T598 is a positive start.

A team of Purdue University students recently set a new Guinness World Record with their custom robot that solved a Rubik’s Cube in just 0.103 seconds. That was about a third of the time it took the previous record-setting bot. But the new record wasn’t achieved by simply building a robot that moves faster. The students used a combination of high-speed but low-res camera systems, a cube customized for improved strength, and a special solving technique popular among human speed cubers.The Rubik’s Cube-solving robot arms race kicked off in 2014, when a robot called Cubestormer 3 built with Lego Mindstorms parts and a Samsung Galaxy S4 solved the iconic puzzle in 3.253 seconds — faster than any human or robot could at the time. (The current world record for a human solving a Rubik’s Cube belongs to Xuanyi Geng, who did it in just 3.05 seconds.) Over the course of a decade, engineers managed to reduce that record to just hundreds of milliseconds.Last May, engineers at Mitsubishi Electric in Japan claimed the world record with a robot that solved a cube in 0.305 seconds. The record stood for almost a year before the team from Purdue’s Elmore Family School of Electrical and Computer Engineering — Junpei Ota, Aden Hurd, Matthew Patrohay, and Alex Berta — shattered it. Their robot has come to be known as Purdubik’s Cube. Bringing the robot record down to less than half a second required moving away from Lego and, instead, using optimized components like industrial motors. Getting it down to just 0.103 seconds, however, required the team from Purdue to find multiple new ways to shave off milliseconds.“Each robot that previous world record-holders has done has kind of focused on one new thing,” Patrohay tells The Verge. When MIT grad students broke the record in 2018, they opted for industrial hardware that outperformed what previous record-holders had used. Mitsubishi Electric chose electric motors that were better suited for the specific task of spinning each side of the cube, instead of just hardware that moved faster.However, the first thing the Purdue students improved was actually the speed that their robot could visualize the scrambled cube. Human speed cubing competitors are allowed to study a Rubik’s Cube before their timer starts, but the robot record includes the time it takes it to determine the location of all the colored squares. The students used a pair of high-speed machine vision cameras from Flir, with a resolution of just 720x540 pixels, pointed at opposing corners of the cube. Each camera can see three sides simultaneously during exposures that lasted as little as 10 microseconds.The Purdubik’s Cube’s high-speed Flir cameras use wide-angle lenses, and the Rubik’s Cube appears in only a very small region of their field of view. The color detection system relies on low-resolution images of the puzzle, which speeds up processing times. Photo: Matthew Patrohay / Purdue UniversityAlthough it may seem instantaneous, it takes time for a camera to process the data coming from a sensor and turn it into a digital picture. The Purdubik’s Cube uses a custom image detection system that skips image processing altogether. It also only focuses on a very small area of what each camera’s sensor sees — a cropped region that’s just 128x124 pixels in size — to reduce the amount of data being moved around.Raw data from the sensors is sent straight to a high-speed color detection system that uses the RGB measurements from even smaller sample areas on each square to determine their color faster than other approaches — even AI.“It’s sometimes slightly less reliable,” Patrohay admits, “but even if it’s 90 percent consistent, that’s good enough as long as it’s fast. We really want that speed.”Despite a lot of the hardware on Purdue’s robot being custom-made, the team chose to go with existing software when it came to figuring out the fastest way to solve a scrambled cube. They used Elias Frantar’s Rob-Twophase, which is a cube-solving algorithm that takes into account the unique capabilities of robots, like being able to spin two sides of a cube simultaneously.The team also took advantage of a Rubik’s Cube-solving technique called corner cutting where you can start to turn one side of the cube before you’ve finished turning another side that’s perpendicular to it. The advantage to this technique is that you’re not waiting for one side to completely finish its rotation before starting another. For a brief moment, there’s overlap between the movements of the two sides that can result in a significant amount of time saved when you’re chasing a world record.High-speed footage of the Purdubik’s Cube reveals how it uses the corner-cutting technique to overlap movements and reduce the time it takes to solve the Rubik’s Cube. Photo: Matthew Patrohay / Purdue UniversityThe challenge with corner cutting is that if you use too much force (like a robot is capable of) and don’t time things perfectly, you can physically break or even completely destroy a Rubik’s Cube. In addition to perfecting the timing of the robot’s movements and the acceleration of its motors, the students had to customize the cube itself.Guinness World Records follows the guidelines of the World Cube Association, which has a long list of regulations that need to be followed before a record will be recognized. It allows competitors to modify their cube, so long as it twists and turns like a standard Rubik’s Cube and has nine colored squares on each of its six sides, with each side a different color. Materials other than plastic can be used, but the color parts all need to have the same texture. To improve its durability, the Purdue team upgraded the internal structure of their cubes with a custom 3D-printed version made from stronger SLS nylon plastic. The WCA also allows the use of lubricants to help make cubes spin more freely, but here it’s used for a different reason.“The cube we use for the record is tensioned incredibly tight, like almost hilariously tight,” says Patrohay. “The one that we modified is very difficult to turn. Not impossible, but you can’t turn it with your fingers. You have to really get your wrist into it.” When solving the cube at high speeds, the lubricant helps to smooth out its movements while the increased tension reduces overturns and improves control so time-saving tricks like corner cutting can be used.Each of the robot’s six servo motors connect to the Rubik’s Cube center squares using a custom-made metal shaft that spins each side. Photo: Matthew Patrohay / Purdue UniversityFaster servo motors do help to reduce solving times, but it’s not as simple as maxing out their speed and hoping for the best. The Purdubik’s Cube uses six motors attached to metal shafts that slot into the center of each side of the cube. After testing several different approaches the team settled on a trapezoidal motion profile where the servos accelerate at speeds of up to 12,000,000 degrees/s2, but decelerate much slower, closer to 3,000,000 degrees/s2, so the robot can more accurately position each side as it comes to a stop.Could the Purdubik’s Cube break the record again? Patrohay believes it’s possible, but it would need a stronger cube made out of something other than plastic. “If you were to make a completely application-specific Rubik’s Cube out of some sort of carbon fiber composite, then I could imagine you being able to survive at higher speeds, and just being able to survive at higher speeds would then allow you to bring the time down.”See More:

Nvidia's RTX Remix is a remarkable tool that allows game modders to bring state-of-the-art path traced visuals to classic PC games. We've seen Portal RTX from Nvidia already, along with the development of a full-on remaster of Half-Life 2 - but I was excited to see a community of modders take on 2004's Painkiller, enhanced now to become Painkiller RTX. It's still a work-in-progress project as of version 0.1.6, but what I've seen so far is still highly impressive - and if you have the means, I recommend checking it out. The whole reason RTX Remix works with the original Painkiller is due to its custom rendering technology, known as the PainEngine. This 2004 release from People Can Fly Studios was built around Direct X 8.1, which gave it stellar visuals at the time, including bloom effects – specular lighting with limited bump mapping and full framebuffer distortion effects. Those visuals dazzled top-end GPU owners of the time, but like a great number of PC releases from that era, it had a DX7 fallback which culled the fancier shading effects and could even run on GPUs like the original GeForce. RTX Remix uses the fixed function DX7 path and replaces the core rendering with the path tracer - and that is how I have been playing the game these last few days, taking in the sights and sounds of Painkiller with a new lick of paint. It's an upgrade that has made me appreciate it all the more now in 2025 as it is quite a special game that history has mostly forgotten. To fully enjoy the modders' work on the path-traced upgrade to Painkiller, we highly recommend this video.Watch on YouTube Painkiller is primarily a singleplayer first-person shooter that bucked the trends of the time period. After Half-Life and Halo: Combat Evolved, many first person shooters trended towards a more grounded and storytelling-based design. The classic FPS franchises like Quake or Unreal had gone on to become wholly focused on multiplayer, or else transitioned to the storytelling route - like Doom 3, for example. Painkiller took all of those 'modern' trappings and threw them in the garbage. A narrative only exists in a loose sense with pre-rendered video that bookends the game’s chapters, acting only as a flimsy excuse to send the player to visually distinct levels that have no thematic linking beyond pointing you towards enemies that you should dispatch with a variety of weapons. The basic gameplay sounds familiar if you ever played Doom Eternal or Doom 2016. It is simple on paper, but thanks to the enemy and level variety and the brilliant weaponry, it does not get tiring. The game enhanced its traditional FPS gameplay with an extensive use of Havok physics – where a great deal of the game’s environmental objects could be broken up into tiny pieces with rigid body movement on all the little fragments, or environmental objects could be manipulated with ragdoll or rope physics. Sometimes it is there for purely visual entertainment but other times it has a gameplay purpose with destructible objects often containing valuable resources or being useful as a physics weapon against the game's enemies. So, what's the score with Painkiller RTX? Well, the original's baked lighting featured hardly any moving lights and no real-time perspective-correct shadows - so all of that is added as part and parcel of the path-traced visuals. The RTX renderer also takes advantage of ray-traced fog volumes, showing shadows in the fog in the areas where light is obscured. Another aspect you might notice is that the game’s various pickups have been now made to be light-emissive. In the original game, emissives textures are used to keep things full bright even in darkness, but they themselves emit no light. Since the path tracer fully supports emissive lighting from any arbitrary surface, they all now cast light, making them stand out even more in the environment. To see this content please enable targeting cookies. The original game extensively used physics objects, which tended to lead to a clash in lighting and shading for any moving objects, which were incongruous then with the static baked lighting. Turn on the path tracer and these moving objects are grounded into the environment with shadows of their own, while receiving and casting light themselves. Boss battles are transformed as those enemies are also fully grounded in the surrounding environments, perfectly integrated into the path-traced visuals - and even if the titanic enemies are off-screen, their shadows are not. The main difference in many scenes is just down to the new lighting - it's more physicalised now as dynamic objects are properly integrated, no longer floating or glowing strangely. One reason for this is due to lighting resolution. The original lighting was limited by trying to fit in 256MB of VRAM, competing for space with the game’s high resolution textures. Painkiller RTX's lighting and shadowing is achieved at a per-pixel level in the path tracer, which by necessity means that you tend to see more nuance, along with more bounce lighting as it is no longer erased away by bilinear filtering on chunky light map textures. Alongside more dynamism and detail, there are a few new effects too. Lit fog is heavily used now in many levels - perhaps at its best in the asylum level where the moonlight and rain are now illuminated, giving the level more ambience than it had before. There is also some occasional usage of glass lighting effects like the stain glass windows in the game now filtering light through them properly, colouring the light on the ground in the pattern of the individual mosaic patterns found on their surface. Half-Life 2 RTX - built on RTX Remix - recently received a demo release. It's the flagship project for the technology, but modders have delivered path traced versions of many modern games.Watch on YouTube New textures and materials interact with the path tracer in ways that transform the game. For some objects, I believe the modders used Quixel megascan assets to give the materials parallax along with a high resolution that is artistically similar to the original game. A stoney ground in the graveyard now actually looks stoney, thanks to a different texture: a rocky material with craggy bits and crevices that obscure light and cast micro shadows, for example. Ceramic tiles on the floor now show varying levels of depth and cracks that pick up a very dull level of reflectivity from the moon-lit sky. Some textures are also updated by running them through generative tools which interpret dark areas of the baked textures as recesses and lighter areas as raised edges and assigns them a heightmap. This automated process works quite well for textures whose baked features are easily interpreted, but for textures that had a lot of noise added into them to simulate detail, the automated process can be less successful. That is the main issue I would say with the RTX version so far: some of these automated textures have a few too many bumps in them, making them appear unnatural. But that is just the heightmap data as the added in material values to give the textures sheen tend to look universally impressive. The original game barely has any reflectivity, and now a number of select surfaces show reflections in full effect, like the marble floors at the end of the game's second level. For the most part though, the remix of textures from this mod is subtle, with many textures still being as diffuse as found in the original game: rocky and dirty areas in particular look much the same as before, just with more accurately rendered shadows and bounce lighting - but without the plasticy sheen you might typically find in a seventh generation game. Whether maxed on an RTX 5090 or running on optimised settings on an RTX 4060, the current work-in-progress version of Painkiller RTX can certainly challenge hardware. | Image credit: Digital Foundry Make no mistake though: path tracing doesn't come cheap and to play this game at decent frame-rates, you either need to invest in high performance hardware or else accept some compromises to settings. Being a user mod that's still in development, I imagine this could improve in later versions but at the moment, Painkiller RTX maxed out is very heavy - even heavier than Portal RTX. So if you want to play it on a lower-end GPU, I recommend my optimised settings for Portal RTX, which basically amounts to turning down the amount of possible light bounces to save on performance and skimping a bit in other areas. Even with that, an RTX 4060 was really struggling to run the game well. With frame generation on and DLSS set to 1080p balanced with the transformer model, 80fps to 90fps was the best I could achieve in the general combat zones, with the heaviest stages dipping into the 70s - and even into the 60s with frame generation. The mod is still work-in-progress, but even now, Painkiller RTX is still a lot of fun and it can look stunning if your hardware is up to it. But even if you can't run it, I do hope this piece and its accompanying video pique your interest in checking out Painkiller in some form. Even without the path-traced upgrade, this is a classic first-person shooter that's often overlooked and more than holds its own against some of the period's better known games.

How Deepfakes Are Created Generative AI models enable the creation of highly realistic fake media. Most deepfakes today are produced by training deep neural networks on real images, video or audio of a target person. The two predominant AI architectures are generative adversarial networks (GANs) and autoencoders. A GAN consists of a generator network that produces synthetic images and a discriminator network that tries to distinguish fakes from real data. Through iterative training, the generator learns to produce outputs that increasingly fool the discriminator¹. Autoencoder-based tools similarly learn to encode a target face and then decode it onto a source video. In practice, deepfake creators use accessible software: open-source tools like DeepFaceLab and FaceSwap dominate video face-swapping (one estimate suggests DeepFaceLab was used for over 95% of known deepfake videos)². Voice-cloning tools (often built on similar AI principles) can mimic a person’s speech from minutes of audio. Commercial platforms like Synthesia allow text-to-video avatars (turning typed scripts into lifelike “spokespeople”), which have already been misused in disinformation campaigns³. Even mobile apps (e.g. FaceApp, Zao) let users do basic face swaps in minutes⁴. In short, advances in GANs and related models make deepfakes cheaper and easier to generate than ever. Diagram of a generative adversarial network (GAN): A generator network creates fake images from random input and a discriminator network distinguishes fakes from real examples. Over time the generator improves until its outputs “fool” the discriminator⁵ During creation, a deepfake algorithm is typically trained on a large dataset of real images or audio from the target. The more varied and high-quality the training data, the more realistic the deepfake. The output often then undergoes post-processing (color adjustments, lip-syncing refinements) to enhance believability¹. Technical defenses focus on two fronts: detection and authentication. Detection uses AI models to spot inconsistencies (blinking irregularities, audio artifacts or metadata mismatches) that betray a synthetic origin⁵. Authentication embeds markers before dissemination – for example, invisible watermarks or cryptographically signed metadata indicating authenticity⁶. The EU AI Act will soon mandate that major AI content providers embed machine-readable “watermark” signals in synthetic media⁷. However, as GAO notes, detection is an arms race – even a marked deepfake can sometimes evade notice – and labels alone don’t stop false narratives from spreading⁸⁹. Deepfakes in Recent Elections: Examples Deepfakes and AI-generated imagery already have made headlines in election cycles around the world. In the 2024 U.S. primary season, a digitally-altered audio robocall mimicked President Biden’s voice urging Democrats not to vote in the New Hampshire primary. The caller (“Susan Anderson”) was later fined $6 million by the FCC and indicted under existing telemarketing laws¹⁰¹¹. (Importantly, FCC rules on robocalls applied regardless of AI: the perpetrator could have used a voice actor or recording instead.) Also in 2024, former President Trump posted on social media a collage implying that pop singer Taylor Swift endorsed his campaign, using AI-generated images of Swift in “Swifties for Trump” shirts¹². The posts sparked media uproar, though analysts noted the same effect could have been achieved without AI (e.g., by photoshopping text on real images)¹². Similarly, Elon Musk’s X platform carried AI-generated clips, including a parody “Ad” depicting Vice-President Harris’s voice via an AI clone¹³. Beyond the U.S., deepfake-like content has appeared globally. In Indonesia’s 2024 presidential election, a video surfaced on social media in which a convincingly generated image of the late President Suharto appeared to endorse the candidate of the Golkar Party. Days later, the endorsed candidate (who is Suharto’s son-in-law) won the presidency¹⁴. In Bangladesh, a viral deepfake video superimposed the face of opposition leader Rumeen Farhana onto a bikini-clad body – an incendiary fabrication designed to discredit her in the conservative Muslim-majority society¹⁵. Moldova’s pro-Western President Maia Sandu has been repeatedly targeted by AI-driven disinformation; one deepfake video falsely showed her resigning and endorsing a Russian-friendly party, apparently to sow distrust in the electoral process¹⁶. Even in Taiwan (amidst tensions with China), a TikTok clip circulated that synthetically portrayed a U.S. politician making foreign-policy statements – stoking confusion ahead of Taiwanese elections¹⁷. In Slovakia’s recent campaign, AI-generated audio mimicking the liberal party leader suggested he plotted vote-rigging and beer-price hikes – instantly spreading on social media just days before the election¹⁸. These examples show that deepfakes have touched diverse polities (from Bangladesh and Indonesia to Moldova, Slovakia, India and beyond), often aiming to undermine candidates or confuse voters¹⁵¹⁸. Notably, many of the most viral “deepfakes” in 2024 were actually circulated as obvious memes or claims, rather than subtle deceptions. Experts observed that outright undetectable AI deepfakes were relatively rare; more common were AI-generated memes plainly shared by partisans, or cheaply doctored “cheapfakes” made with basic editing tools¹³¹⁹. For instance, social media was awash with memes of Kamala Harris in Soviet garb or of Black Americans holding Trump signs¹³, but these were typically used satirically, not meant to be secretly believed. Nonetheless, even unsophisticated fakes can sway opinion: a U.S. study found that false presidential ads (not necessarily AI-made) did change voter attitudes in swing states. In sum, deepfakes are a real and growing phenomenon in election campaigns²⁰²¹ worldwide – a trend taken seriously by voters and regulators alike. U.S. Legal Framework and Accountability In the U.S., deepfake creators and distributors of election misinformation face a patchwork of tools, but no single comprehensive federal “deepfake law.” Existing laws relevant to disinformation include statutes against impersonating government officials, electioneering (such as the Bipartisan Campaign Reform Act, which requires disclaimers on political ads), and targeted statutes like criminal electioneering communications. In some cases ordinary laws have been stretched: the NH robocall used the Telephone Consumer Protection Act and mail/telemarketing fraud provisions, resulting in the $6M fine and a criminal charge. Similarly, voice impostors can potentially violate laws against “false advertising” or “unlawful corporate communications.” However, these laws were enacted before AI, and litigators have warned they often do not fit neatly. For example, deceptive deepfake claims not tied to a specific victim do not easily fit into defamation or privacy torts. Voter intimidation laws (prohibiting threats or coercion) also leave a gap for non-threatening falsehoods about voting logistics or endorsements. Recognizing these gaps, some courts and agencies are invoking other theories. The U.S. Department of Justice has recently charged individuals under broad fraud statutes (e.g. for a plot to impersonate an aide to swing votes in 2020), and state attorneys general have considered deepfake misinformation as interference with voting rights. Notably, the Federal Election Commission (FEC) is preparing to enforce new rules: in April 2024 it issued an advisory opinion limiting “non-candidate electioneering communications” that use falsified media, effectively requiring that political ads use only real images of the candidate. If finalized, that would make it unlawful for campaigns to pay for ads depicting a candidate saying things they never did. Similarly, the Federal Trade Commission (FTC) and Department of Justice (DOJ) have signaled that purely commercial deepfakes could violate consumer protection or election laws (for example, liability for mass false impersonation or for foreign-funded electioneering). U.S. Legislation and Proposals Federal lawmakers have proposed new statutes. The DEEPFAKES Accountability Act (H.R.5586 in the 118th Congress) would, among other things, impose a disclosure requirement: political ads featuring a manipulated media likeness would need clear disclaimers identifying the content as synthetic. It also increases penalties for producing false election videos or audio intended to influence the vote. While not yet enacted, supporters argue it would provide a uniform rule for all federal and state campaigns. The Brennan Center supports transparency requirements over outright bans, suggesting laws should narrowly target deceptive deepfakes in paid ads or certain categories (e.g. false claims about time/place/manner of voting) while carving out parody and news coverage. At the state level, over 20 states have passed deepfake laws specifically for elections. For example, Florida and California forbid distributing falsified audio/visual media of candidates with intent to deceive voters (though Florida’s law exempts parody). Some states (like Texas) define “deepfake” in statutes and allow candidates to sue or revoke candidacies of violators. These measures have had mixed success: courts have struck down overly broad provisions that acted as prior restraints (e.g. Minnesota’s 2023 law was challenged for threatening injunctions against anyone “reasonably believed” to violate it). Critically, these state laws raise First Amendment issues: political speech is highly protected, so any restriction must be tightly tailored. Already, Texas and Virginia statutes are under legal review, and Elon Musk’s company has sued under California’s law (which requires platforms to label or block deepfakes) as unconstitutional. In practice, most lawsuits have so far centered on defamation or intellectual property (for instance, a celebrity suing over a botched celebrity-deepfake video), rather than election-focused statutes. Policy Recommendations: Balancing Integrity and Speech Given the rapidly evolving technology, experts recommend a multi-pronged approach. Most stress transparency and disclosure as core principles. For example, the Brennan Center urges requiring any political communication that uses AI-synthesized images or voice to include a clear label. This could be a digital watermark or a visible disclaimer. Transparency has two advantages: it forces campaigns and platforms to “own” the use of AI, and it alerts audiences to treat the content with skepticism. Outright bans on all deepfakes would likely violate free speech, but targeted bans on specific harms (e.g. automated phone calls impersonating voters, or videos claiming false polling information) may be defensible. Indeed, Florida already penalizes misuse of recordings in voter suppression. Another recommendation is limited liability: tying penalties to demonstrable intent to mislead, not to the mere act of content creation. Both U.S. federal proposals and EU law generally condition fines on the “appearance of fraud” or deception. Technical solutions can complement laws. Watermarking original media (as encouraged by the EU AI Act) could deter the reuse of authentic images in doctored fakes. Open tools for deepfake detection – some supported by government research grants – should be deployed by fact-checkers and social platforms. Making detection datasets publicly available (e.g. the MIT OpenDATATEST) helps improve AI models to spot fakes. International cooperation is also urged: cross-border agreements on information-sharing could help trace and halt disinformation campaigns. The G7 and APEC have all recently committed to fighting election interference via AI, which may lead to joint norms or rapid response teams. Ultimately, many analysts believe the strongest “cure” is a well-informed public: education campaigns to teach voters to question sensational media, and a robust independent press to debunk falsehoods swiftly. While the law can penalize the worst offenders, awareness and resilience in the electorate are crucial buffers against influence operations. As Georgia Tech’s Sean Parker quipped in 2019, “the real question is not if deepfakes will influence elections, but who will be empowered by the first effective one.” Thus policies should aim to deter malicious use without unduly chilling innovation or satire. References: https://www.security.org/resources/deepfake-statistics/. https://www.wired.com/story/synthesia-ai-deepfakes-it-control-riparbelli/. https://www.gao.gov/products/gao-24-107292. https://technologyquotient.freshfields.com/post/102jb19/eu-ai-act-unpacked-8-new-rules-on-deepfakes. https://knightcolumbia.org/blog/we-looked-at-78-election-deepfakes-political-misinformation-is-not-an-ai-problem. https://www.npr.org/2024/12/21/nx-s1-5220301/deepfakes-memes-artificial-intelligence-elections. https://apnews.com/article/artificial-intelligence-elections-disinformation-chatgpt-bc283e7426402f0b4baa7df280a4c3fd. https://www.lawfaremedia.org/article/new-and-old-tools-to-tackle-deepfakes-and-election-lies-in-2024. https://www.brennancenter.org/our-work/research-reports/regulating-ai-deepfakes-and-synthetic-media-political-arena. https://firstamendment.mtsu.edu/article/political-deepfakes-and-elections/. https://www.ncsl.org/technology-and-communication/deceptive-audio-or-visual-media-deepfakes-2024-legislation. https://law.unh.edu/sites/default/files/media/2022/06/nagumotu_pp113-157.pdf. https://dfrlab.org/2024/10/02/brazil-election-ai-research/. https://dfrlab.org/2024/11/26/brazil-election-ai-deepfakes/. https://freedomhouse.org/article/eu-digital-services-act-win-transparency. The post The Legal Accountability of AI-Generated Deepfakes in Election Misinformation appeared first on MarkTechPost.

View of the south façade before construction of a new residential project that now conceals Le Christin from Boulevard René Lévesque. PROJECT Le Christin, Montreal, Quebec ARCHITECT Atelier Big City PHOTOS James Brittain   PROJECT Les Studios du PAS, Montreal, Quebec ARCHITECT L. McComber in collaboration with Inform  PHOTOS Ulysse Lemerise   Nighttime, April 15, 2025. A thousand volunteers are gathering in Montreal, part of a province-wide effort to try and put numbers on a growing phenomenon in cities like Vancouver, Calgary, Toronto, and many others. The volunteers are getting ready to walk around targeted areas in downtown Montreal and around certain subway stations. Temporary shelters are also visited. First conducted in the spring of 2018, this survey showed that 3,149 people were in a vulnerable situation at the time. Four years later, a similar effort revealed that Montreal’s homeless population had risen to 4,690 people—and that there were some 10,000 people experiencing homelessness in the whole of the province. The 2025 numbers are expected to be significantly higher. For the organizers, this one-night snapshot of the situation is “neither perfect nor complete.” However, for nonprofit organizations and governmental bodies eager to prevent a vulnerable population from ending up on the streets, the informal census does provide highly valuable information.  Two recent initiatives—very different from one another—offer inspiring answers. The most recent one, Le Christin, was designed by Atelier Big City (led by architects Anne Cormier, Randy Cohen, and Howard Davies) and inaugurated in 2024. Studios du PAS, on the other hand, was designed by Montreal firm L. McComber, and welcomed its first tenants in 2022. Both projects involved long-standing charities: the 148-year-old Accueil Bonneau, in the case of Le Christin, and the 136-year-old Mission Old Brewery for Studios du PAS. Le Christin was spearheaded, and mostly financed, by the Société d’habitation et de développement de Montréal (SHDM), a non-profit, para-municipal corporation created in 1988. Studios du PAS was first selected by the City of Montreal to be built thanks to the Rapid Housing Initiative (RHI) program run by the Canada Mortgage and Housing Corporation (CMHC). Le Christin also received a financial contribution from the CMHC towards the end of the process. Boldly coloured blind walls signal the presence of Le Christin in the center of a densely occupied city block, with entrance to the left along Sanguinet Stree. Le Christin Although sited in a very central location, near the buzzing St. Catherine and St. Denis streets, Le Christin is hard to find. And even when one suddenly spots two seven-storey-high walls, coloured lemon-zest yellow and mango orange, it’s difficult to figure out what they are about. A stroll along the tiny Christin Street finally reveals the front façade of this new facility, now home to some of Montreal’s most vulnerable citizens.  View of Le Christin’s modulated front façade. Galvanized steel panels at ground level add a soft touch while protecting the building from potential damage caused by snow plows. Le Christin is unique for a number of reasons. First among them is its highly unusual location—at the centre of a dense city block otherwise occupied by university buildings, office towers, and condo blocks. Until a few years ago, the site was home to the four-storey Appartements Le Riga. The Art Deco-style building had been built in 1914 by developer-architect Joseph-Arthur Godin, who was a pioneer in his own right: he was one of the first in Montreal to experiment with reinforced concrete structures, a novelty in the city at the time. A century later, Le Riga, by then the property of SHDM, was in serious need of repair. Plans had already been drafted for a complete renovation of the building when a thorough investigation revealed major structural problems. Tenants had to leave on short notice and were temporarily relocated; the building was eventually demolished in 2019. By that time, Atelier Big City had been mandated to design a contemporary building that would replace Le Riga and provide a “place of one’s own” to close to 150 tenants, formerly homeless or at risk of becoming so.    Le Christin – Site Plan and Ground Floor Plan The entire operation sparked controversy, particularly as Le Christin started to rise, showing no sign of nostalgia. The architects’ daring approach was difficult to fathom—particularly for those who believe social housing should keep a low profile.  The program, originally meant for a clientele of single men, gradually evolved to include women. In order to reflect societal trends, the architects were asked to design 24 slightly larger units located in the building’s east wing, separated from the rest of the units by secured doors. Thus, Le Christin is able to accommodate homeless couples or close friends, as well as students and immigrants in need. A tenants-only courtyard is inserted in the south façade. In order to provide the maximum number of units requested by SHDM, each of the 90 studios was reduced to 230 square feet—an adjustment from Atelier Big City’s initial, slightly more generous plans. In a clever move, an L-shaped kitchen hugs the corner of each unit, pushing out against the exterior wall. As a result, the window openings recede from the façade, creating a sense of intimacy for the tenants, who enjoy contact with the exterior through large windows protected by quiet Juliet balconies. Far from damaging the initial design, the added constraint of tightened units allowed the architects to modulate the building’s façades, creating an even stronger statement. On the unit levels, corridors include large openings along the south façade. Each floor is colour-coded to enliven the space; overhead, perforated metal plates conceal the mechanical systems. An extra floor was gained thanks to the decision to expose the various plumbing, electrical, and ventilation systems. Well-lit meeting rooms and common areas are found near Le Christin’s front entrance, along with offices for personnel, who are present on the premises 24 hours a day. Apart from a small terrace above the entrance, the main exterior space is a yard which literally cuts into the building’s back façade. This has a huge impact on the interiors at all levels: corridors are generously lit with sunlight, a concept market developers would be well advised to imitate. The adjacent exit stairs are also notable, with their careful detailing and the presence of glazed openings.  The fire stairs, which open onto the exterior yard at ground level, feature glazing that allows for ample natural light. Le Christin has achieved the lofty goal articulated by SHDM’s former director, architect Nancy Schoiry: “With this project, we wanted to innovate and demonstrate that it was possible to provide quality housing for those at risk of homelessness.” The low-slung Studios du PAS aligns with neighbourhood two-storey buildings. Studios du PAS In sharp contrast with Le Christin’s surroundings, the impression one gets approaching Studios du PAS, 14 kilometres east of downtown Montreal, is that of a small town. In this mostly low-scale neighbourhood, L. McComber architects adopted a respectful, subdued approach—blending in, rather than standing out.  The project uses a pared-down palette of terracotta tile, wood, and galvanized steel. The footbridge links the upper level to shared exterior spaces. The financing for this small building, planned for individuals aged 55 or older experiencing or at risk of homelessness, was tied to a highly demanding schedule. The project had to be designed, built, and occupied within 18 months: an “almost impossible” challenge, according to principal architect Laurent McComber. From the very start, prefabrication was favoured over more traditional construction methods. And even though substantial work had to be done on-site—including the installation of the roof, electrical and mechanical systems, as well as exterior and interior finishes—the partially prefabricated components did contribute to keeping costs under control and meeting the 18-month design-to-delivery deadline. Les Studios du PAS The building was divided into 20 identical modules, each fourteen feet wide—the maximum width allowable on the road. Half the modules were installed at ground level. One of these, positioned nearest the street entrance, serves as a community room directly connected to a small office for the use of a social worker, allowing staff to follow up regularly with tenants. Flooded with natural light, the double-height lobby provides a friendly and inclusive welcome. The ground level studios were designed so they could be adapted to accommodate accessibility needs. Some of the ground floor units were adapted to meet the needs of those with a physical disability; the other units were designed to be easily adaptable if needed. All studio apartments, slightly under 300 square feet, include a full bathroom, a minimal kitchen, and sizeable storage space hidden behind cabinet doors. Most of the apartments include a small exterior alcove, which provides an intimate outdoor space while creating a subtle rhythm along the front façade. Inside the studio units, storage cupboards for clothes and belongings were added as an extension of the kitchen wall. Conscious of the tradition of brick residential buildings in Montreal, yet wanting to explore alternate materials, the architects selected an earth-toned terracotta tile from Germany. The 299mm x 1500mm tiles are clipped to the façade, allowing for faster installation and easier maintenance. All units enjoy triple-glazed windows and particularly well insulated walls. A high-performance heat pump was installed to lower energy demand—and costs—for heating and cooling needs. Wood siding was used to soften the upper-level balconies, which provide protected outdoor spaces for residents.   Pride and Dignity Le Christin and Les Studios du PAS have little in common—except, of course, their program. Architecturally speaking, each represents an interesting solution to the problem at hand. While Le Christin is a high-spirited, flamboyant statement, Studios du PAS is to be praised for its respectful attitude, and for the architects’ relentless search for interesting alternatives to traditional construction norms. Atelier Big City is one of few firms in Canada that has the guts—and the talent—to play with bold colours. Decades of experimentation (not just with public buildings, but also within their own homes), led up to Le Christin, which is perhaps their strongest building to date. Their judicious choices of colour, brick type, and materials transmit a message of pride and dignity. Both projects demonstrate enormous respect and generosity to their residents: they provide architecture that treats them not as an underclass, but as regular people, who need the stability of dignified housing to start rebuilding their lives. Odile Hénault is a contributing editor to Canadian Architect.   Le Christin CLIENT Société d’habitation et de développement de Montréal (SHDM) | ARCHITECT TEAM Anne Cormier, Randy Cohen, Howard Davies, Fannie Yockell, Gabriel Tessier, Sébastien St-Laurent, Lisa Vo | STRUCTURAL DPHV | MECHANICAL/ELECTRICAL BPA | CIVIL Genexco | LIGHTING CS Design | AREA 4,115 m2 | Construction BUDGET $18.9 M | COMPLETION November 2023   Les Studios du PAS  CLIENT PAS de la rue | ARCHITECT TEAM L. McComber—Laurent McComber, Olivier Lord, Jérôme Lemieux, Josianne Ouellet-Daudelin, Laurent McComber. Inform—David Grenier, Élisabeth Provost, Amélie Tremblay, David Grenier | PROJECT MANAGEMENT Groupe CDH | STRUCTURAL Douglas Consultants | MECHANICAL/ELECTRICAL Martin Roy & associés | CIVIL Gravitaire | CONTRACTOR Gestion Étoc | AREA 1,035 m2 | BUDGET $3.4 M | COMPLETION September 2022 As appeared in the June 2025 issue of Canadian Architect magazine The post A Place to Call Home: Le Christin and Les Studios du PAS, Montreal, Quebec appeared first on Canadian Architect.