Upcoming (serious) Web performance boostBy: Adam Scott5 June 2025Progress ReportSometimes, just adding a compiler flag can yield significant performance boosts. And that just happened.For about two years now, all major browsers have supported WASM (WebAssembly) SIMD. SIMD stands for “Single instruction, multiple data” and is a technology that permits CPUs to do some parallel computation, often speeding up the whole program. And that’s exactly why we tried it out recently.We got positive results.The need for performance on the WebThe Web platform is often overlooked as a viable target, because of its less-than-ideal environment and its perceived poor performance. And the perception is somewhat right: the Web environment has a lot of security-related quirks to take into account—the user needs to interact with a game frame before the browser allows it to play any sound1. Also, due to bandwidth and compatibility reasons, you rarely see high-fidelity games being played on a browser. Performance is better achieved when running software natively on the operating system.But don’t underestimate the potential of the Web platform. As I explained in broad terms at the talk I gave at the last GodotCon Boston 2025, the Web has caught up a lot since the days of Flash games. Not only are there more people playing Web games every year, but standards and browsers improve every year in functionality and in performance.And that’s why we are interested in using WASM SIMD.WASM SIMD BenchmarksOur resident benchmark expert Hugo Locurcio (better known as Calinou) ran the numbers for us on a stress test I made. We wanted to compare standard builds to builds with WASM SIMD enabled.Note: You may try to replicate his results, but be aware that he has a beast of a machine. Here are his PC’s specifications:CPU: Intel Core i9-13900KGPU: NVIDIA GeForce RTX 4090RAM: 64 GB (2×32 GB DDR5-5800 CL30)SSD: Solidigm P44 Pro 2 TBOS: Linux (Fedora 42)I built a Jolt physics stress test from a scene initially made by passivestar. By spawning more and more barrels into the contraption, we can easily test the performance difference between the WASM SIMD build and the other.Without WASM SIMDWith WASM SIMDImprovement (approx.)Test linksLinkLink-Firefox 138(“+100 barrels” 3 times)2×Firefox 138(“+100 barrels” 6 times)10.17×*Chromium 134(“+100 barrels” 3 times)1.37×Chromium 134(“+100 barrels” 6 times)14.17×**Please note that once the physics engine enters a “spiral of death”, it is common for the framerate to drop to single digits, SIMD or not. These tests don’t prove 10× to 15× CPU computing speed improvements, but rather that games will be more resilient to framerate drops on the same machine in the same circumstances. The 1.5× to 2× numbers are more representative here of the performance gains by WASM SIMD.What it means for your gamesStarting with 4.5 dev 5, you can expect your Web games to run a little bit more smoothly, without having to do anything. Especially when things get chaotic (for your CPU). It isn’t a silver bullet for poorly optimized games, but it will help nonetheless. Also, note that it cannot do anything for GPU rendering bottlenecks.Be aware that the stress tests are meant by nature to only test the worst case scenarios, so you may not see such large improvements in normal circumstances. But it’s nice to see such stark improvements when the worst happens.AvailabilityFrom here on out, the 4.5 release official templates will only support WebAssembly SIMD-compatible browsers in order to keep the template sizes small. We generally aim to maintain compatibility with the oldest devices we can. But in this case, the performance gains are too large to ignore and the chances of users having browsers that are that far out of date is too small relative to the potential benefits.If you need to use non-SIMD templates, don’t fret. You can always build the Godot Editor and the engine templates without WebAssembly SIMD support by using the wasm_simd=no build option.What’s next?As I wrote in my last blog post, we’re currently working very hard to make C#/.NET exports a reality. We do have a promising prototype, we just need to make sure that it’s production-ready.I also mentioned in that article that I wanted to concentrate on improving our asset loading game. Preloading an entire game before even starting it hinders the ability to use Godot for commercial Web games. Once something is implemented to improve that issue, count on me to share the news with you.It’s either that, or we return to the old days of spam-webpages using the “Congratulations, you won!” sound effect when you least expect it. ↩

The murder of John Forde was the culmination to years of political, social, and criminal intrigue.   Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. Researchers have uncovered handwritten letters, court documents, and a coroner’s report related to the nearly 700-year-old cold case murder of a medieval priest. Published on June 5 in the journal Criminal Law Forum, the investigation draws on direct archival evidence from Cambridge University that is helping fill in the gaps to a high-profile true crime scandal that would make headlines even today. But despite a mountain of firsthand accounts, the murder’s masterminds never saw justice. The ‘planned and cold-blooded’ crime On Friday, May 3, 1337, Anglican priest John Forde began a walk along downtown London’s Cheapside street after vespers (evening prayers) shortly before sunset. At one point, a clergyman familiar to Forde by the name of Hasculph Neville approached him to begin a “pleasant conversation.” As the pair neared St. Paul’s Cathedral, four men ambushed the priest. One of the attackers then proceeded to slit Forde’s throat using a 12-inch dagger as two other assailants stabbed him in the stomach in front of onlookers. The vicious crime wasn’t a brazen robbery or politically motivated attack. It was likely a premeditated murder orchestrated by Ela Fitzpayne, a noblewoman, London crime syndicate leader—and potentially Forde’s lover. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” Cambridge University criminology professor Manuel Eisner explained in a statement. The location of the murder of John Forde on May 3, 1337. Credit: Medieval Murder Maps / University of Cambridge’s Institute of Criminology / Historic Towns Trust. A longstanding feud To understand how such a brutal killing could take place in daylight on a busy London street, it’s necessary to backtrack at least five years. In January 1332, the Archbishop of Canterbury sent a letter to the Bishop of Winchester that included a number of reputation-ruining claims surrounding Fitzpayne. In particular, Archbishop Simon Mepham described sexual relationships involving “knights and others, single and married, and even with clerics in holy orders.” The wide-ranging punishments for such sinful behavior could include a prohibition on wearing gold and other precious jewelry, as well as large tithes to monastic orders and the poor. But the most humiliating atonement often came in the form of a public walk of shame. The act of contrition involved walking barefoot across Salisbury Cathedral—England’s longest nave—in order to deliver a handcarried, four-pound wax candle to the church altar. What’s more, Archbishop Mepham commanded that Fitzpayne must repeat this penance every autumn for seven years. Fitzpayne was having none of it. According to Mepham’s message, the noblewoman chose to continue listening to a “spirit of pride” (and the devil), and refused to abide by the judgment. A second letter sent by the Archbishop that April also alleged that she had since absconded from her husband, Sir Robert Fitzpayne, and was hiding in London’s Rotherhithe district along the Thames River. Due to this, Archbishop Mepham reported that Ela Fitzpayne had been excommunicated from the church. Image of the Archbishop of Canterbury’s letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Credit: Hampshire Archives and Hampshire County Council. Raids and rats But who tipped the clergy off to her indiscretions? According to Eisner’s review of original documents as part of the Cambridge University Institute of Criminology’s Medieval Murder Maps project, it was almost certainly her ex-lover, the soon-to-be-murdered John Forde. He was the only alleged lover named in Archbishop Mepham’s letters, and served as a church rector in a village located on the Fitzpayne family’s estate at the time of the suspected affair.  “The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” Eisner said. “Not least as John Forde appears to have escaped punishment by the church.” But Forde’s relationship with the Fitzpaynes seems to have extended even more illicit activities. In another record reviewed by Eisner, both Ela Fitzpayne and John Forde had been indicted by a Royal Commission in 1322. The crime–assisting in the raid of a Benedictine priory alongside Sir Fitzpayne. They and others reportedly assaulted the priory a year earlier, making off with around 18 oxen, 30 pigs, and 200 sheep. The monastery coincidentally served as a French abbey’s outpost amid increasing tensions between France and England in the years leading up to the Hundred Years’ War. Archbishop Mepham was almost certainly displeased after hearing about the indictment of one of his own clergy. A strict administrator himself, Mepham “was keen to enforce moral discipline among the gentry and nobility,” added Eisner. He theorizes that Forde copped to the affair after getting leaned on by superiors, which subsequently led to the campaign to shame Ela Fitzpayne as a means to reassert the Church’s authority over English nobility. Forde, unfortunately, was caught between the two sides. “John Forde may have had split loyalties,” argued Eisner. “One to the Fitzpayne family, who were likely patrons of his church and granted him the position. And the other to the bishops who had authority over him as a clergy member.” Archbishop Mepham ultimately wouldn’t live to see the scandal’s full consequences. Fitzpayne never accepted her walk of shame, and the church elder died a year after sending the incriminating letters. Eisner believes the Fitzpaynes greenlit their hit job on Forde only after the dust had seemingly settled. It doesn’t help their case three bystanders said the man who slit the rector’s throat was none other than Ela Fitzpayne’s own brother, Hugh Lovell. They also named two family servants as Forde’s other assailants. Archbishop Mepham died four years before Forde’s murder. Credit: ampshire Archives and Hampshire County Council Turning a blind eye Anyone waiting for justice in this medieval saga will likely be disappointed. “Despite naming the killers and clear knowledge of the instigator, when it comes to pursuing the perpetrators, the jury turn[ed] a blind eye,” Eisner said. Eisner explained the circumstances surrounding an initial lack of convictions were simply “implausible.” No one supposedly could locate the accused to bring to trial, despite the men belonging to one of England’s highest nobility houses. Meanwhile, the court claimed Hugh Lovell had no belongings available to confiscate. “This was typical of the class-based justice of the day,” said Eisner. In the end, the only charge that ever stuck in the murder case was an indictment against one of the family’s former servants. Five years after the first trial in 1342, Hugh Colne was convicted of being one of the men to stab Forde in the stomach and sentenced to the notorious Newgate Prison. As dark and sordid as the multiyear medieval drama was, it apparently didn’t change much between Ela Fitzpayne and her husband, Sir Robert. She and the baron remained married until his death in 1354—when she subsequently inherited all his property. “Where rule of law is weak, we see killings committed by the highest ranks in society, who will take power into their own hands, whether it’s today or seven centuries ago,” said Eisner. That said, the criminology professor couldn’t help but concede that Ela Fitzpayne was an “extraordinary” individual, regardless of the era. “A woman in 14th century England who raided priories, openly defied the Archbishop of Canterbury, and planned the assassination of a priest,” he said. “Ela Fitzpayne appears to have been many things.”

This story appeared in The Logoff, a daily newsletter that helps you stay informed about the Trump administration without letting political news take over your life. Subscribe here.Welcome to The Logoff: President Donald Trump and Elon Musk’s increasingly nasty public split is dominating headlines today, and you can read all about it here. But it also means that another change Trump made this week is flying under the radar — one with consequences for millions of people around the world.What just happened? On Wednesday evening, the Trump administration announced a total ban on entry to the US for citizens of 12 countries, resurrecting a key first-term policy. The ban also includes partial restrictions on seven other countries and is set to take effect this coming Monday, June 9.Which countries does the ban impact? Immigrants, students, and tourists will all be affected. Citizens of Afghanistan, Myanmar, Chad, Republic of the Congo, Equatorial Guinea, Eritrea, Haiti, Iran, Libya, Somalia, Sudan, and Yemen are subject to a total ban, while all immigrant visas and many classes of non-immigrant visa for citizens of Burundi, Cuba, Laos, Sierra Leone, Togo, Turkmenistan, and Venezuela are covered by the partial restrictions.What’s the context? This new ban isn’t a surprise — a “Muslim ban,” which was eventually upheld by the Supreme Court after multiple iterations, was a flagship policy in the first Trump administration, and the second Trump administration has previously signaled its intent to bring back some version of the policy. In March, it was reported that the administration was considering various restrictions on at least 43 different countries. What’s different this time? The new ban covers more countries and cites a wider range of justifications. In addition to national security concerns, the ban also alleges “significant risks” of visa overstays from some of the impacted countries. It comes as the administration steps up an ever-more-aggressive campaign of deportation and anti-immigration policies. RelatedThe real reasons Musk is feuding with TrumpAnd with that, it’s time to log off…The NBA finals start tonight, featuring the Oklahoma City Thunder and the Indiana Pacers! I really enjoyed this preview of the series from Defector, which is a great starting point whether or not you’ve been following along through the playoffs. That being said, the Thunder head into the series as favorites — something I, a former Washington state resident, cannot condone. Go Pacers, and long live the Sonics.See More:

“Is that concrete all around, or is it in my head?” asked Ian Hunter in “All the Young Dudes,” the song David Bowie wrote for Mott the Hoople in 1972. Concrete is all around us, and we haven’t quite wrapped our heads around it. It’s one of the indispensable materials of modernity; as we try to decarbonize the built environment, it’s part of the problem, and innovations in its composition may become part of the solution. Understanding its history more clearly, the Skyscraper Museum’s new exhibition in Manhattan implies, just might help us employ it better. Concrete is “the second most used substance in the world, after water,” the museum’s founder/director/curator Carol Willis told AN during a recent visit. For plasticity, versatility, and compressive strength, reinforced concrete is hard to beat, though its performance is more problematic when assessed by the metric of embodied and operational carbon, a consideration the exhibition acknowledges up front. In tall construction, concrete has become nearly hegemonic, yet its central role, contend Willis and co-curator Thomas Leslie, formerly of Foster + Partners and now a professor at the University of Illinois, Urbana-Champaign, is underrecognized by the public and by mainstream architectural history. The current exhibition aims to change that perception. The Skyscraper Museum in Lower Manhattan features an exhibition, The Modern Concrete Skyscraper, which examines the history of material choices in building tall towers. (Courtesy the Skyscraper Museum) The Modern Concrete Skyscraper examines the history of tall towers’ structural material choices, describing a transition from the early dominance of steel frames to the contemporary condition, in which most large buildings rely on concrete. This change did not happen instantly or for any single reason but through a combination of technical and economic factors, including innovations by various specialists, well-recognized and otherwise; the availability of high-quality limestone deposits near Chicago; and the differential development of materials industries in nations whose architecture grew prominent in recent decades. As supertalls reach ever higher—in the global race for official height rankings by the Council on Tall Buildings and Urban Habitat (CTBUH) and national, corporate, or professional bragging rights—concrete’s dominance may not be permanent in that sector, given the challenge of pumping the material beyond a certain height. (The 2,717-foot Burj Khalifa, formerly Burj Dubai, uses concrete up to 1,987 and steel above that point; Willis quotes SOM’s William Baker describing it as “the tallest steel building with a concrete foundation of 156 stories.”) For the moment, however, concrete is ahead of its chief competitors, steel and (on a smaller scale) timber. Regardless of possible promotional inferences, Willis said, “we did not work with the industry in any way for this exhibition.” “The invention of steel and the grid of steel and the skeleton frame is only the first chapter of the history of the skyscraper,” Willis explained. “The second chapter, and the one that we’re in now, is concrete. Surprisingly, no one had ever told that story of the skyscraper today with a continuous narrative.” The exhibition traces the use of concrete back to the ancient Roman combination of aggregate and pozzolana—the chemical formula for which was “largely lost with the fall of the Roman Empire,” though some Byzantine and medieval structures approximated it. From there, the show explores comparable materials’ revival in 18th-century England, the patenting of Portland cement by Leeds builder Joseph Aspdin in 1824, the proof-of-concept concrete house by François Coignet in 1856, and the pivotal development of rebar in the mid-19th century, with overdue attention to Ernest Ransome’s 1903 Ingalls Building in Cincinnati, then the world’s tallest concrete building at 15 stories and arguably the first concrete skyscraper. The exhibition includes a timeline that depicts concrete’s origins in Rome to its contemporary use in skyscraper construction. (Courtesy the Skyscraper Museum) Baker’s lectures, Willis reported, sometimes pose a deceptively simple question: “‘What is a skyscraper?’ In 1974, when the World Trade Center and Sears Tower are just finished, you would say it’s a very tall building that is built of steel, an office building in North America. But if you ask that same question today, the answer is: It’s a building that is mixed-use, constructed of concrete, and [located] in Asia or the Middle East.” The exhibition organizes the history of concrete towers by eras of engineering innovation, devoting special attention to the 19th- and early-20th-century “patent era” of Claude Allen Porter Turner (pioneer in flat-slab flooring and mushroom columns) and Henry Chandlee Turner (founder of Turner Construction), Ransome (who patented twisted-iron rebar), and François Hennebique (known for the re-inforced concrete system exemplified by Liverpool’s Royal Liver Building, the world’s tallest concrete office building when completed in 1911). In the postwar era, “concrete comes out onto the surface [as] both a structural material and aesthetic.” Brutalism, perhaps to some observers’ surprise, “does not figure very large in high-rise design,” Willis said, except for Paul Rudolph’s Tracey Towers in the Bronx. The exhibition, however, devotes considerable attention to the work of Pier Luigi Nervi, Bertrand Goldberg (particularly Marina City), and SOM’s Fazlur Khan, pioneer of the structural tube system in the 1960s and 1970s—followed by the postmodernist 1980s, when concrete could express either engineering values or ornamentation. The exhibition highlights a number of concrete towers, including Paul Rudolph’s Tracey Towers in the Bronx. (Courtesy the Skyscraper Museum) “In the ’90s, there were material advances in engineering analysis and computerization that helped to predict performance, and so buildings can get taller and taller,” Willis said. The current era, if one looks to CTBUH rankings, is dominated by the supertalls seen in Dubai, Shanghai, and Kuala Lumpur, after the Petronas Towers (1998) “took the title of world’s tallest building from North America for the first time and traumatized everybody about that.” The previous record holder, Chicago’s Sears (now Willis) Tower, comprised steel structural tubes on concrete caissons; with Petronas, headquarters of Malaysia’s national petroleum company of that name, a strong concrete industry was represented but a strong national steel industry was lacking, and as Willis frequently says, form follows finances. In any event, by the ’90s concrete was already becoming the standard material for supertalls, particularly on soft-soiled sites like Shanghai, where its water resistance and compressive strength are well suited to foundation construction. Its plasticity is also well suited to complex forms like the triangular Burj, Kuala Lumpur’s Merdeka 118, and (if eventually completed) the even taller Jeddah Tower, designed to “confuse the wind,” shed vortices, and manage wind forces. Posing the same question Louis Kahn asked about the intentions of a brick, Willis said, with concrete “the answer is: anything you want.” The exhibition is front-loaded with scholarly material, presenting eight succinct yet informative wall texts on the timeline of concrete construction. The explanatory material is accompanied by ample photographs as well as structural models on loan from SOM, Pelli Clarke & Partners, and other firms. Some materials are repurposed from the museum’s previous shows, particularly Supertall! (2011–12) and Sky High and the Logic of Luxury (2013–14). The models allow close examination of the Burj Khalifa, Petronas Towers, Jin Mao Tower, Merdeka 118, and others, including two unbuilt Chicago projects that would have exceeded 2,000 feet: the Miglin-Beitler Skyneedle (Cesar Pelli/Thornton Tomasetti) and 7 South Dearborn (SOM). The Burj, Willis noted, was all structure and no facade for a time: When its curtain-wall manufacturer, Schmidlin, went bankrupt in 2006, it “ended up going to 100 stories without having a stitch of glass on it,” temporarily becoming a “1:1 scale model of the structural system up to 100 stories.” Its prominence justifies its appearance here in two models, including one from RWDI’s wind-tunnel studies. Eero Saarinen’s only skyscraper, built for CBS in 1965 and also known as “Black Rock,” under construction in New York City. (Courtesy Eero Saarinen Collection, Manuscripts, and Archives, Yale University Library) The exhibition opened in March, with plans to stay up at least through October (Willis prefers to keep the date flexible), with accompanying lectures and panels to be announced on the museum’s website (skyscraper.org). Though the exhibition’s full textual and graphic content is available online, the physical models alone are worth a trip to the Battery Park City headquarters. Intriguing questions arise from the exhibition without easy answers, setting the table for lively discussion and debate. One is whether the patenting of innovations like Ransome bar and the Système Hennebique incentivized technological progress or hindered useful technology transfer. Willis speculated, “Did the fact that there were inventions and patents mean that competition was discouraged, that the competition was only in the realm of business, rather than advancing the material?” A critical question is whether research into the chemistry of concrete, including MIT’s 2023 report on the self-healing properties of Roman pozzolana and proliferating claims about “green concrete” using alternatives to Portland cement, can lead to new types of the material with improved durability and lower emissions footprints. This exhibition provides a firm foundation in concrete’s fascinating history, opening space for informed speculation about its future. Bill Millard is a regular contributor to AN.

By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

alternative_right shares a report from Phys.Org: Using conventional propulsion and low-energy trajectories, it takes six to nine months for crewed spacecraft to reach Mars. These durations complicate mission design and technology requirements and raise health and safety concerns since crews will be exposed to extended periods in microgravity and heightened exposure to cosmic radiation. Traditionally, mission designers have recommended nuclear-electric or nuclear-thermal propulsion (NEP/NTP), which could shorten trips to just 3 months. In a recent study, a UCSB physics researcher identified two trajectories that could reduce transits to Mars using the Starship to between 90 and 104 days. The study was authored by Jack Kingdon, a graduate student researcher in the Physics Department at the University of California, Santa Barbara (UCSB). He is also a member of the UCSB Weld Lab, an experimental ultracold atomic physics group that uses quantum degenerate gases to explore quantum mechanical phenomena. [...] As outlined on its website, conference presentations, and user manual, the SpaceX mission architecture consists of six Starships traveling to Mars. Four of these spacecraft will haul 400 metric tons (440 U.S. tons) of cargo while two will transport 200 passengers. Based on the Block 2 design, which has a 1,500 metric ton (1,650 U.S. ton) propellant capacity, the crewed Starships will require 15 tankers to fully refuel in low Earth orbit (LEO). The cargo ships would require only four, since they would be sent on longer low-energy trajectories. Once the flotilla arrives at Mars, the Starships will refuel using propellant created in situ using local carbon dioxide and water ice. When the return window approaches, one of the crew ships and 3-4 cargo ships will refuel and then launch into a low Mars orbit (LMO). The cargo ships will then transfer the majority of their propellant to the crew ship and return to the surface of Mars. The crew ship would then depart for Earth, and the process could be repeated for the other crew ship. Kingdon calculated multiple trajectories using a Lambert Solver, which produces the shortest elliptical arc in two-body problem equations (aka Lambert's problem). The first would depart Earth on April 30th, 2033, taking advantage of the 26-month periodic alignment between Earth and Mars. The transit would last 90 days, with the crew returning to Earth after another 90-day transit by July 2nd, 2035. The second would depart Earth on July 15th, 2035, and return to Earth after a 104-day transit on December 5th, 2037. As Kingdon explained, the former trajectory is the most likely to succeed: "The optimal trajectory is the 2033 trajectory -- it has the lowest fuel requirements for the fastest transit time. A note that may not be obvious to the layreader is that Starship can very easily reach Mars in ~3 months -- in fact, it can in any launch window, over a fairly wide range of trajectories. However, Starship may impact the Martian atmosphere too fast (although we do not know, and likely SpaceX don't either actually how fast Starship can hit the Martian atmosphere and survive). The trajectories discussed are ones that I am confident Starship will survive." The paper describing the work has been published in the journal Scientific Reports. Read more of this story at Slashdot.

An artist's illustration of an unlucky massive star approaching a supermassive black hole. Credit: University of Hawai'i Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. At any given time across the universe, massive cosmic bodies are releasing incomprehensible amounts of energy. Stars burn like celestial nuclear fusion reactors, quasars emit thousands of times the luminosity of the Milky Way galaxy, and asteroids slam into planets. But all of these pale in comparison to a new class of events discovered by researchers at the University of Hawai’i’s Institute for Astronomy (IfA). According to their findings published June 4 in the journal Science Advances, it’s time to classify the universe’s most energetic explosions as extreme nuclear transients–or ENTs. ENTs are as devastating as they are rare. They only occur when a massive star at least three times heavier than the sun drifts too close to a supermassive black hole. The colliding forces subsequently obliterate the star, sending out plumes of energy across huge swaths of space. Similar events known as tidal disruption events (TDEs) are known to occur on a (comparatively) smaller scale, and have been documented for over a decade. But ENTs are something else entirely. “ENTs are different beasts,” study lead author and astronomer Jason Hinkle explained in an accompanying statement. “Not only are ENTs far brighter than normal tidal disruption events, but they remain luminous for years, far surpassing the energy output of even the brightest known supernova explosions.” Hinkle was first tipped off to ENTs while looking into transients—longlasting flares that spew energy from a galaxy’s center. Two particularly strange examples captured by the European Space Agency’s Gaia mission caught his eye. The pair of events brightened over a much longer timeframe than previously documented transients, but lacked some of their usual characteristics. “Gaia doesn’t tell you what a transient is, just that something changed in brightness,” Hinkle said. “But when I saw these smooth, long-lived flares from the centers of distant galaxies, I knew we were looking at something unusual.” Hinkle soon reached out to observatory teams around the world for what would become a multiyear project to understand these anomalies. In the process, a third suspect was detected by the Zwicky Transient Facility at the Palomar Observatory in San Diego. After months of analysis, Hinkle and collaborators realized they were witnessing something unprecedented. An infrared echo tells us that a dusty torus surrounds the central black hole and newly-formed accretion disk. Credit: University of Hawai’i The ENTs analyzed by astronomers displayed smoother, longer lasting flares that pointed towards something very particular—a supermassive black hole accreting a giant, wayward star. This contrasts with a more standard black hole that typically acquires its material and energy unpredictably, resulting in irregular brightness fluctuations. The energy and luminosity of an ENT boggles the mind. The most powerful ENT documented in Hinkle’s study, Gaia18cdj, generated 25 times more energy than the most powerful known supernovae. For reference, a standard supernova puts out as much energy in a single year as the sun does across its entire 10 billion year lifespan. Gaia18cdj, meanwhile, manages to give off 100 suns’ worth of energy over just 12 months. The implications of ENTs and their massive energy surges go far beyond their impressive energy outputs. Astronomers believe they contribute to some of the most pivotal events in the cosmos. “These ENTs don’t just mark the dramatic end of a massive star’s life. They illuminate the processes responsible for growing the largest black holes in the universe,” said Hinkle. From here on Earth, ENTs can also help researchers as they continue studying massive, distant black holes. “Because they’re so bright, we can see them across vast cosmic distances—and in astronomy, looking far away means looking back in time,” explained study co-author and astronomer Benjamin Shappee. “By observing these prolonged flares, we gain insights into black hole growth when the universe was half its current age… forming stars and feeding their supermassive black holes 10 times more vigorously than they do today.” There’s a catch for astronomers, however. While supernovae are relatively well-documented, ENTs are estimated to occur at least 10 million times less often. This means that further study requires consistent monitoring of the cosmos backed by the support of international governments, astronomical associations, and the public.

Drones Set To Deliver Benefits for Labor-Intensive Industries: Forrester By John P. Mello Jr. June 3, 2025 5:00 AM PT ADVERTISEMENT Quality Leads That Turn Into Deals Full-service marketing programs from TechNewsWorld deliver sales-ready leads. Segment by geography, industry, company size, job title, and more. Get Started Now. Aerial drones are rapidly assuming a key role in the physical automation of business operations, according to a new report by Forrester Research. Aerial drones power airborne physical automation by addressing operational challenges in labor-intensive industries, delivering efficiency, intelligence, and experience, explained the report written by Principal Analyst Charlie Dai with Frederic Giron, Merritt Maxim, Arjun Kalra, and Bill Nagel. Some industries, like the public sector, are already reaping benefits, it continued. The report predicted that drones will deliver benefits within the next two years as technologies and regulations mature. It noted that drones can help organizations grapple with operational challenges that exacerbate risks and inefficiencies, such as overreliance on outdated, manual processes, fragmented data collection, geographic barriers, and insufficient infrastructure. Overreliance on outdated manual processes worsens inefficiencies in resource allocation and amplifies safety risks in dangerous work environments, increasing operational costs and liability, the report maintained. “Drones can do things more safely, at least from the standpoint of human risk, than humans,” said Rob Enderle, president and principal analyst at the Enderle Group, an advisory services firm, in Bend, Ore. “They can enter dangerous, exposed, very high-risk and even toxic environments without putting their operators at risk,” he told TechNewsWorld. “They can be made very small to go into areas where people can’t physically go. And a single operator can operate several AI-driven drones operating autonomously, keeping staffing levels down.” Sensor Magic “The magic of the drone is really in the sensor, while the drone itself is just the vehicle that holds the sensor wherever it needs to be,” explained DaCoda Bartels, senior vice president of operations with FlyGuys, a drone services provider, in Lafayette, La. “In doing so, it removes all human risk exposure because the pilot is somewhere safe on the ground, sending this sensor, which is, in most cases, more high-resolution than even a human eye,” he told TechNewsWorld. “In essence, it’s a better data collection tool than if you used 100 people. Instead, you deploy one drone around in all these different areas, which is safer, faster, and higher resolution.” Akash Kadam, a mechanical engineer with Caterpillar, maker of construction and mining equipment, based in Decatur, Ill., explained that drones have evolved into highly functional tools that directly respond to key inefficiencies and threats to labor-intensive industries. “Within the manufacturing and supply chains, drones are central to optimizing resource allocation and reducing the exposure of humans to high-risk duties,” he told TechNewsWorld. “Drones can be used in factory environments to automatically inspect overhead cranes, rooftops, and tight spaces — spaces previously requiring scaffolding or shutdowns, which carry both safety and cost risks,” he said. “A reduction in downtime, along with no requirement for manual intervention in hazardous areas, is provided through this aerial inspection by drones.” “In terms of resource usage, drones mounted with thermal cameras and tools for acquiring real-time data can spot bottlenecks, equipment failure, or energy leakage on the production floor,” he continued. “This can facilitate predictive maintenance processes and [optimal] usage of energy, which are an integral part of lean manufacturing principles.” Kadam added that drones provide accurate field mapping and multispectral imaging in agriculture, enabling the monitoring of crop health, soil quality, and irrigation distribution. “Besides the reduction in manual scouting, it ensures more effective input management, which leads to more yield while saving resources,” he observed. Better Data Collection The Forrester report also noted that drones can address problems with fragmented data collection and outdated monitoring systems. “Drones use cameras and sensors to get clear, up-to-date info,” said Daniel Kagan, quality manager at Rogers-O’Brien Construction, a general contractor in Dallas. “Some drones even make 3D maps or heat maps,” he told TechNewsWorld. “This helps farmers see where crops need more water, stores check roof damage after a storm, and builders track progress and find delays.” “The drone collects all this data in one flight, and it’s ready to view in minutes and not days,” he added. Dean Bezlov, global head of business development at MYX Robotics, a visualization technology company headquartered in Sofia, Bulgaria, added that drones are the most cost and time-efficient way to collect large amounts of visual data. “We are talking about two to three images per second with precision and speed unmatched by human-held cameras,” he told TechNewsWorld. “As such, drones are an excellent tool for ‘digital twins’ — timestamps of the real world with high accuracy which is useful in industries with physical assets such as roads, rail, oil and gas, telecom, renewables and agriculture, where the drone provides a far superior way of looking at the assets as a whole,” he said. Drone Adoption Faces Regulatory Hurdles While drones have great potential for many organizations, they will need to overcome some challenges and barriers. For example, Forrester pointed out that insurers deploy drones to evaluate asset risks but face evolving privacy regulations and gaps in data standardization. Media firms use drones to take cost-effective, cinematic aerial footage, but face strict regulations, it added, while in urban use cases like drone taxis and cargo transport remain experimental due to certification delays and airspace management complexities. “Regulatory frameworks, particularly in the U.S., remain complex, bureaucratic, and fragmented,” said Mark N. Vena, president and principal analyst with SmartTech Research in Las Vegas. “The FAA’s rules around drone operations — especially for flying beyond visual line of sight [BVLOS] — are evolving but still limit many high-value use cases.” “Privacy concerns also persist, especially in urban areas and sectors handling sensitive data,” he told TechNewsWorld. “For almost 20 years, we’ve been able to fly drones from a shipping container in one country, in a whole other country, halfway across the world,” said FlyGuys’ Bartels. “What’s limiting the technology from being adopted on a large scale is regulatory hurdles over everything.” Enderle added that innovation could also be a hangup for organizations. “This technology is advancing very quickly, making buying something that isn’t instantly obsolete very difficult,” he said. “In addition, there are a lot of drone choices, raising the risk you’ll pick one that isn’t ideal for your use case.” “We are still at the beginning of this trend,” he noted. “Robotic autonomous drones are starting to come to market, which will reduce dramatically the need for drone pilots. I expect that within 10 years, we’ll have drones doing many, if not most, of the dangerous jobs currently being done by humans, as robotics, in general, will displace much of the labor force.” John P. Mello Jr. has been an ECT News Network reporter since 2003. His areas of focus include cybersecurity, IT issues, privacy, e-commerce, social media, artificial intelligence, big data and consumer electronics. He has written and edited for numerous publications, including the Boston Business Journal, the Boston Phoenix, Megapixel.Net and Government Security News. Email John. Leave a Comment Click here to cancel reply. Please sign in to post or reply to a comment. New users create a free account. Related Stories More by John P. Mello Jr. view all More in Emerging Tech

What just happened? Enthusiast-class discrete graphics cards typically dominate conversations about high performance, but integrated GPUs aren't far behind when it comes to overclocking records for clock frequency. The latest world record holder recently explained how he managed voltage and temperature levels to push an Intel iGPU past the 4GHz mark for the very first time. Overclocker Pieter Massman recently detailed how he set a new graphics clock frequency world record at Computex 2025. While most recent record holders have used Nvidia's flagship RTX 4090, Massman surpassed them using the integrated GPU from an Intel Core Ultra 9 285K. With help from Asus overclocker Peter "Shamino" Tan, Massman pushed the Arrow Lake processor's Xe2-LPG 64EU iGPU to 4.25GHz – more than double its stock boost clock. The team achieved the feat twice, validating the results in CPU-Z during a livestream in the early days of this year's Computex event in Taiwan. According to Massman's blog, Skatter Bencher, the achievement marks a new world record for both integrated GPU clock frequency and GPU clock frequency overall. Since the RTX 4090 launched in 2022, frequency records have steadily climbed from around 3.3GHz to 4.02GHz in 2023. Massman had previously set the iGPU record at 3.9GHz during an Arrow Lake launch event late last year – using the same chip he would later overclock at Computex. The overclock involved setting the GT ratio to multiply the default reference clock by a factor of 85, the highest available setting. Initially, Massman supplied 1.3V to the integrated GPU via a VccGT voltage rail dedicated to the CPU's graphics tile cores, but this only reached 3.1GHz. // Related Stories Pushing further required a delicate balance of overvolting and liquid nitrogen cooling, ultimately achieving 4.25GHz with 1.7V and a temperature of -170°C. However, measuring the iGPU's performance at those settings overwhelmed several common benchmarking tools. Furmark crashed after reaching 2,800 points in 1080p, 3DMark Speed Way halted around 650 marks, and GPUPI 1B only ran for about 17.9 seconds. To stabilize the system, the team overclocked the graphics die-to-die interface and increased the reference clock. While discrete and overall GPU clock frequency records have steadily risen since the early 2000s, progress with iGPUs only resumed recently. After breaking the 2GHz barrier in 2011, integrated GPU overclocking plateaued for nearly a decade before surpassing 3GHz in 2023. Whether graphics overclocking will stagnate as CPU frequency gains have since 2010 remains to be seen.

IT Pros ‘Extremely Worried’ About Shadow AI: Report By John P. Mello Jr. June 4, 2025 5:00 AM PT ADVERTISEMENT Enterprise IT Lead Generation Services Fuel Your Pipeline. Close More Deals. Our full-service marketing programs deliver sales-ready leads. 100% Satisfaction Guarantee! Learn more. Shadow AI — the use of AI tools under the radar of IT departments — has information technology directors and executives worried, according to a report released Tuesday. The report, based on a survey of 200 IT directors and executives at U.S. enterprise organizations of 1,000 employees or more, found nearly half the IT pros (46%) were “extremely worried” about shadow AI, and almost all of them (90%) were concerned about it from a privacy and security viewpoint. “As our survey found, shadow AI is resulting in palpable, concerning outcomes, with nearly 80% of IT leaders saying it has resulted in negative incidents such as sensitive data leakage to Gen AI tools, false or inaccurate results, and legal risks of using copyrighted information,” said Krishna Subramanian, co-founder of Campbell, Calif.-based Komprise, the unstructured data management company that produced the report. “Alarmingly, 13% say that shadow AI has caused financial or reputational harm to their organizations,” she told TechNewsWorld. Subramanian added that shadow AI poses a much greater problem than shadow IT, which primarily focuses on departmental power users purchasing cloud instances or SaaS tools without obtaining IT approval. “Now we’ve got an unlimited number of employees using tools like ChatGPT or Claude AI to get work done, but not understanding the potential risk they are putting their organizations at by inadvertently submitting company secrets or customer data into the chat prompt,” she explained. “The data risk is large and growing in still unforeseen ways because of the pace of AI development and adoption and the fact that there is a lot we don’t know about how AI works,” she continued. “It is becoming more humanistic all the time and capable of making decisions independently.” Shadow AI Introduces Security Blind Spots Shadow AI is the next step after shadow IT and is a growing risk, noted James McQuiggan, security awareness advocate at KnowBe4, a security awareness training provider in Clearwater, Fla. “Users use AI tools for content, images, or applications and to process sensitive data or company information without proper security checks,” he told TechNewsWorld. “Most organizations will have privacy, compliance, and data protection policies, and shadow AI introduces blind spots in the organization’s data loss prevention.” “The biggest risk with shadow AI is that the AI application has not passed through a security analysis as approved AI tools may have been,” explained Melissa Ruzzi, director of AI at AppOmni, a SaaS security management software company, in San Mateo, Calif. “Some AI applications may be training models using your data, may not adhere to relevant regulations that your company is required to follow, and may not even have the data storage security level you deem necessary to keep your data from being exposed,” she told TechNewsWorld. “Those risks are blind spots of potential security vulnerabilities in shadow AI.” Krishna Vishnubhotla, vice president of product strategy at Zimperium, a mobile security company based in Dallas, noted that shadow AI extends beyond unapproved applications and involves embedded AI components that can process and disseminate sensitive data in unpredictable ways. “Unlike traditional shadow IT, which may be limited to unauthorized software or hardware, shadow AI can run on employee mobile devices outside the organization’s perimeter and control,” he told TechNewsWorld. “This creates new security and compliance risks that are harder to track and mitigate.” Vishnubhotla added that the financial impact of shadow AI varies, but unauthorized AI tools can lead to significant regulatory fines, data breaches, and loss of intellectual property. “Depending on the scale of the agency and the sensitivity of the data exposed, the costs could range from millions to potentially billions in damages due to compliance violations, remediation efforts, and reputational harm,” he said. “Federal agencies handling vast amounts of sensitive or classified information, financial institutions, and health care organizations are particularly vulnerable,” he said. “These sectors collect and analyze vast amounts of high-value data, making AI tools attractive. But without proper vetting, these tools could be easily exploited.” Shadow AI Everywhere and Easy To Use Nicole Carignan, SVP for security and AI strategy at Darktrace, a global cybersecurity AI company, predicts an explosion of tools that utilize AI and generative AI within enterprises and on devices used by employees. “In addition to managing AI tools that are built in-house, security teams will see a surge in the volume of existing tools that have new AI features and capabilities embedded, as well as a rise in shadow AI,” she told TechNewsWorld. “If the surge remains unchecked, this raises serious questions and concerns about data loss prevention, as well as compliance concerns as new regulations start to take effect.” “That will drive an increasing need for AI asset discovery — the ability for companies to identify and track the use of AI systems throughout the enterprise,” she said. “It is imperative that CIOs and CISOs dig deep into new AI security solutions, asking comprehensive questions about data access and visibility.” Shadow AI has become so rampant because it is everywhere and easy to access through free tools, maintained Komprise’s Subramanian. “All you need is a web browser,” she said. “Enterprise users can inadvertently share company code snippets or corporate data when using these Gen AI tools, which could create data leakage.” “These tools are growing and changing exponentially,” she continued. “It’s really hard to keep up. As the IT leader, how do you track this and determine the risk? Managers might be looking the other way because their teams are getting more done. You may need fewer contractors and full-time employees. But I think the risk of the tools is not well understood.” “The low, or in some cases non-existent, learning curve associated with using Gen AI services has led to rapid adoption, regardless of prior experience with these services,” added Satyam Sinha, CEO and co-founder of Acuvity, a provider of runtime Gen AI security and governance solutions, in Sunnyvale, Calif. “Whereas shadow IT focused on addressing a specific challenge for particular employees or departments, shadow AI addresses multiple challenges for multiple employees and departments. Hence, the greater appeal,” he said. “The abundance and rapid development of Gen AI services also means employees can find the right solution [instantly]. Of course, all these traits have direct security implications.” Banning AI Tools Backfires To support innovation while minimizing the threat of shadow AI, enterprises must take a three-pronged approach, asserted Kris Bondi, CEO and co-founder of Mimoto, a threat detection and response company in San Francisco. They must educate employees on the dangers of unsupported, unmonitored AI tools, create company protocols for what is not acceptable use of unauthorized AI tools, and, most importantly, provide AI tools that are sanctioned. “Explaining why one tool is sanctioned and another isn’t greatly increases compliance,” she told TechNewsWorld. “It does not work for a company to have a zero-use mandate. In fact, this results in an increase in stealth use of shadow AI.” In the very near future, more and more applications will be leveraging AI in different forms, so the reality of shadow AI will be present more than ever, added AppOmni’s Ruzzi. “The best strategy here is employee training and AI usage monitoring,” she said. “It will become crucial to have in place a powerful SaaS security tool that can go beyond detecting direct AI usage of chatbots to detect AI usage connected to other applications,” she continued, “allowing for early discovery, proper risk assessment, and containment to minimize possible negative consequences.” “Shadow AI is just the beginning,” KnowBe4’s McQuiggan added. “As more teams use AI, the risks grow.” He recommended that companies start small, identify what’s being used, and build from there. They should also get legal, HR, and compliance involved. “Make AI governance part of your broader security program,” he said. “The sooner you start, the better you can manage what comes next.” John P. Mello Jr. has been an ECT News Network reporter since 2003. His areas of focus include cybersecurity, IT issues, privacy, e-commerce, social media, artificial intelligence, big data and consumer electronics. He has written and edited for numerous publications, including the Boston Business Journal, the Boston Phoenix, Megapixel.Net and Government Security News. Email John. Leave a Comment Click here to cancel reply. Please sign in to post or reply to a comment. New users create a free account. Related Stories More by John P. Mello Jr. view all More in IT Leadership