Apple — and almost everybody else — has gotten a slight reprieve as a US court yesterday set aside the Trump tariff tax. But conflict and confusion continue to batter global trade, and while the news will provide a glimmer of relief, it will probably be short-lived. There’s always another dead cat to throw into the flames. Three judges from the US Court of International Trade found that the US International Emergency Economic Powers Act, which the Trump administration invoked to justify the imposition of these tariffs, does not give the president the authority to levy these taxes on trade. “The court does not read IEEPA to confer such unbounded authority and sets aside the challenged tariffs imposed thereunder,” they wrote. The judgement does not impact the 25% “trafficking tariffs” imposed on Mexican and Canadian products and does not prevent the 20% trafficking tariff in place on Chinese goods. It does, however, end the “worldwide and retaliatory” 10-50% tariffs the administration threw at 57 countries. A coalition of small businesses took the case to court, arguing that only Congress has the authority to levy tariffs under the law used by the president’s office. They seem to have prevailed in the argument — at least, so far. It is interesting to note that the administration wanted all the tariff-related lawsuits moved to this particular court, as it felt it would receptive to the administration’s arguments.  This turned out to be an error. What is an emergency? Responding, a White House statement from spokesperson Kush Desai maintained the need for these tariffs, calling US trade deficits a “national emergency that has decimated American communities, left our workers behind and weakened our defense industrial base — facts that the court did not dispute.”  But can a trade in cheap consumer goods be seen as an unusual threat after it has been part of US culture for decades? Not according to the US Court of International Trade. The judges say the trade deficit does not meet the Nixon-era International Emergency Economic Powers Act requirement that an emergency can only be triggered by an “unusual and extraordinary threat.”  The journey is by no means over, of course. With the president recently threatening additional tariffs on iPhones made in India (“I have a bit of a problem with my friend, Tim Cook”), the reprieve may be brief.  Desai’s statement said “unelected judges” are not the right people to decide how to handle what he calls a national emergency. “The administration is committed to using every lever of executive power to address this crisis and restore American greatness.”  It seems likely to end at the Supreme Court, even while the administration argues that it should not be bound by the checks and balances that still remain under the US Constitution. For now, an appeal has been lodged with the United States Court of Appeals for the Federal Circuit in Washington.  Where is the off-ramp? Apple, the world’s biggest consumer electronics company, which contributes a fortune to the US treasury and employs tens of thousands of Americans, will likely be relieved the tariffs have been set aside.  The reprieve implies that US consumers won’t need to pay more for their iPhones for a little longer yet and better reflects the reality that even if Apple were to shift iPhone manufacturing to the US, doing so would take years, cost billions, require engineering skills in quantities that do not yet exist in the US, would involve automation rather than large numbers of new jobs, and would be hampered by the availability of components and materials.  For the time being, at least, the judgment is a significant obstacle to the tariff taxes, albeit one that casts another spanner in the works for ongoing international trade talks. However, there is still scope for the administration to impose sector-specific taxes. All the same, “Tim Apple” will be acutely aware that the future will not look like the past, and the company’s $500 billion investment in the US will be part of the company’s future approach to manufacturing and trade. It suggests that while moving iPhone manufacturing to the US may be impractical, moving manufacture of some components and hardware may make sense. It is possible that as Apple and the US administration continue to negotiate, they may yet identify a road that enables both to declare some form of victory. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.

In The Electric State, based on a graphic novel by Swedish artist Simon Stålenhag, after a robot uprising in an alternative version of the 1990s, an orphaned teenager goes on a quest across the American West, with a cartoon-inspired robot, a smuggler, and his sidekick, to find her long-lost brother. Adapting this sci-fi adventure for Netflix were Joe and Anthony Russo; their film stars Millie Bobbie Brown, Chris Pratt, Stanley Tucci, Giancarlo Esposito and a cast of CG automatons voiced by the likes of Woody Harrelson, Alan Tudyk, Hank Azaria, and Anthony Mackie.  Overseeing the visual effects, which surpassed what the Russos had to deal with during their halcyon MCU days, was Matthew Buttler, who turned to the venerable Digital Domain. As the main vendor, the studio was responsible for producing 61 character builds, 480 assets, and over 850 shots. “It was one of the biggest projects that I’ve done in terms of sheer volumes of assets, shots and characters,” states Joel Behrens, VFX Supervisor, Digital Domain.  “Our wonderful asset team did the 61 characters we were responsible for and had to ingest another 46 characters from other facilities.  We didn’t do any major changes. It was pushing our pipeline to the limits it could handle, especially with other shows going on. We took up a lot of disk space and had the ability to expand and contract the Renderfarm with cloud machines as well.” In researching for the show, Digital Domain visited Boston Dynamics to better understand the technological advancements in robotics, and what structures, motions, and interactions were logical and physically plausible.  “There is a certain amount of fake engineering that goes into some of these things,” notes Behrens.  “We’re not actually building these robots to legitimately function in the real world but have to be visibly believable that they can actually pull some of this stuff off.”  The starting point is always the reference material provided by the client.  “Is there a voice that I need to match to?” notes Liz Bernard, Animation Supervisor, Digital Domain.  “Is there any physical body reference either from motion reference actors in the plate or motion capture? We had a big mix of that on the show.  Some of our characters couldn’t be mocapped at all while others could but we had to modify the performance considerably.  We were also looking at the anatomy of each one of these robots to see what their physical capabilities are.  Can they run or jump?  Because that’s always going to tie tightly with the personality.  Your body in some ways is your personality.  We’re trying to figure out how do we put the actor’s voice on top of all these physical limitations in a way that feels cohesive.  It doesn’t happen overnight.”  The character design of Cosmo was retained from the graphic novel despite not being feasible to engineer in reality.  “His feet are huge,” laughs Bernard.  “We had to figure out how to get him to walk in a way that felt normal and put the joints in the right spots.” Emoting was mainly achieved through physicality.  “He does have these audio clips from the Kid Cosmo cartoon that he can use to help express himself verbally, but most of it is pantomime,” observes Bernard.  “There is this great scene between Cosmo and Michelle that occurs right after she crashes the car, and Cosmo is still trying to convince her who he is and why she should go off on this great search for her brother across the country.   We were trying to get some tough nuanced acting into these shots with a subtle head tilt or a little bit of a slump in the shoulders.”  A green light was inserted into the eyes.  “Matthew Butler likes robotic stuff and anything that we could do to make Cosmo feel more grounded in reality was helpful,” observes Behrens.  “We also wanted to prevent anyone from panicking and giving Cosmo a more animated face or allowing him to speak dialogue. We started off with a constant light at the beginning and then added this twinkle and glimmer in his eye during certain moments. We liked that and ended up putting it in more places throughout the film. Everybody says that the eyes are the windows to the soul so giving Cosmo something rather than a dark black painted spot on his face assisted in connecting with that character.”  Coming in four different sizes that fit inside one another - like a Russian doll - is Herman. Digital Domain looked after the eight-inch, four-foot and 20-foot versions while ILM was responsible for the 60-foot Herman that appears in the final battle.   “They were scaled up to a certain extent but consider that the joints on the 20-foot version of Herman versus the four-foot version need to be more robust and beefier because they’re carrying so much more weight,” remarks Bernard.  “We were focusing on making sure that the impact of each step rippled through the body in a way that made it clear how heavy a 20-foot robot carrying a van across a desert would be.  The smaller one can be nimbler and lighter on its feet.  There were similar physical limitations, but that weight was the big deal.”  Incorporated into the face of Herman is a retro-futuristic screen in the style of the 1980s and early 1990s CRT panels. “It has these RGB pixels that live under a thick plate of glass like your old television set,” explains Behrens.  “You have this beautiful reflective dome that goes over top of these cathode-ray-looking pixels that allowed us to treat it as a modern-day LED with the ability to animate his expressions, or if we wanted to, put symbols up. You could pixelized any graphical element and put it on Herman’s face.  We wanted to add a nonlinear decay into the pixels so when he changed expressions or a shape altered drastically you would have a slow quadratic decay of the pixels fading off as he switched expressions. That contributed a nice touch.” One member of the robot cast is an iconic Planters mascot.  “Everybody knows who Mr. Peanut is and what he looks like, at least in North America,” observes Behrens.  “We had to go through a lot of design iterations of how his face should animate. It was determined that as a slightly older model of robot he didn’t have a lot of dexterity in his face. We were modelling him after Chuck E. Cheese and ShowBiz Pizza animatronics, so it was like a latex shell over the top of a mechanical under structure that drove his limited expressions. It allowed him to open and close his mouth and do some slight contractions at the corners, leaving most of the acting to his eyes, which did not have as many restrictions. The eyes had the ability to move quickly, and dart and blink like a human.”  The eyebrows were mounted tracks that ran up and down a vertical slot on the front of the face.  “We could move the eyebrows up and down, and tilt them, but couldn’t do anything else,” states Bernard.  “It was trying to find a visual language that would get the acting across with Woody Harrelson’s amazing performance backing it up.  Then a lot of pantomime to go with that.”  Mr. Peanut moves in a jerky rather than smooth manner.  “Here is a funny little detail,” reveals Bernard.  “If you think about a peanut shell, he doesn’t have a chest or hips that can move independently.  We realized early on that in order to get him to walk without teeter-tottering everywhere, we were going to have to cut his butt off, reattach it and add a swivel control on the bottom.  We always kept that peanut silhouette intact; however, he could swivel his hips enough to walk forward without looking silly!”  Other notable robots are Pop Fly and Perplexo; the former is modelled on baseball player, the latter on a magician.  “We decided that Pop Fly would be the clunkiest of all robots because he was meant to be the elder statesman,” states Behrens.  “Pop Fly was partially falling apart, like his eye would drift, the mouth would hang open and sometimes he’d pass out for a second and wake back up.  Pop Fly was the scavenger hunter of the group who has seen stuff in the battles of the wasteland. We came up with a fun pitching mechanism so he could actually shoot the balls out of his mouth and of course, there was his trusty baseball bat that he could bat things with.” An interesting task was figuring out how to rig his model.  “We realized that there needed to be a lot of restrictions in his joints to make him look realistic based on how he was modelled in the first place,” notes Bernard.  “Pop Fly couldn’t rotate his head in every direction; he could turn it from side to side for the most part.  Pop Fly was on this weird structure with the four wheels on a scissor lift situation which meant that he always had to lean forward to get going and when stopping, would rock backwards.  It was fun to add all that detail in for him.”  Serving as Perplexo’s upper body is a theatrical box that he pops in and out of.  “Perplexo did not have a whole lot going on with his face,” remarks Bernard.  “It was a simple mechanical structure to his jaw, eyes, and eyelids; that meant we could push the performance with pantomime and crazy big gestures with the arms.”               A major adversary in the film is The Marshall, portrayed by Giancarlo Esposito, who remotely controls a drone that projects the face of operator onto a video screen.  “We started with a much smaller screen and had a cowboy motif for awhile, but then they decided to have a unifying design for the drones that are operated by humans versus the robots,” remarks Behrens.  “Since the artist Simon Stålenhag had done an interesting, cool design with the virtual reality helmets with that long duckbill that the humans wear in the real world, the decision was made to mimic that head style of the drones to match the drone operators. Then you could put a screen on the front; that’s how you see Ted [Jason Alexander] or The Marshall or the commando operators. It worked out quite nicely.”   There was not much differentiation in the movement of the drones.  “The drones were meant to be in the vein of Stormtroopers, a horde of them being operated by people sitting in a comfortable room in Seattle,” observes Bernard. “So, they didn’t get as much effort and love as we put into the rest of the robots which had their own personalities. But for The Marshall, we have great mocap to start from Adam Croasdell. He played it a little bit cowboy, which was how Giancarlo Esposito was portraying the character as well, like a Western sheriff style vibe. You could hear that in the voice.  Listening to Giancarlo’s vocal performance gives you a lot of clues of what you should do when you’re moving that character around.  We put all of that together in the performance of The Marshall.”   Many environments had to either be created or augmented, such as the haunted amusement park known as Happyland. “The majority of the exterior of Happyland was a beautiful set that Dennis Gassner and his crew built in a parking lot of a waterslide park in Atlanta,” states Behrens.  “We would go there at night and freeze our butts off shooting for a good two and a half weeks in the cold Atlanta winter.  Most of our environmental work was doing distance extensions for that and adding atmospherics and fog.  We made all the scavenger robots that inhabit Happyland, which are cannibalistic robotics that upgrade and hot rod themselves from random parts taken from the robots that they kill.  Once we get into the haunted house and fall into the basement, that’s where Dr. Amherst has his lab, which was modelled off a 1930s Frankenstein set, with Tesla coils, beakers, and lab equipment.  That was initially a set build we did onstage in Atlanta. But when we got into additional photography, they wanted to do this whole choreographed fight with The Marshall and Mr. Peanut. Because they didn’t know what actions we would need, we ended up building that entire lower level in CG.”   At one point, all the exiled robots gather at the Mall within the Exclusion Zone.  “We were responsible for building a number of the background characters along with Storm Studios and ILM,” remarks Behrens.  “As for the mall, we didn’t have to do much to the environment.  There were some small things here and there that had to be modified.  We took over an abandoned mall in Atlanta and the art department dressed over half of it.” The background characters were not treated haphazardly. “We assigned two or three characters to each animator,” explains Bernard.  “I asked them to make a backstory and figure out who this guy is, what does he care about, and who is his mama?!  Put that into the performance so that each one feels unique and different because they have their own personalities.  There is a big central theme in the movie where the robots are almost more human than most of the humans you meet.  It was important to us that we put that humanity into their performances. As far as the Mall and choreography, Matthew, Joel and I knew that was going to be a huge challenge because this is not traditional crowd work where you can animate cycles and give it to a crowds department and say, ‘Have a bunch of people walking around.’  All these characters are different; they have to move differently and do their own thing.  We did a first pass on the big reveal in the Mall where you swing around and see the atrium where everybody is doing their thing.  We essentially took each character and moved them around like a chess piece to figure out if we had enough characters, if the color balanced nicely across all of them, and if it was okay for us to duplicate a couple of them.  We started to show that early to Matthew and Jeffrey Ford [Editor, Executive Producer], and the directors to get buyoff on the density of the crowd.”    Considered one of the film’s signature sequences is the walk across the Exclusion Zone, where 20-foot Herman is carrying a Volkswagen van containing Michelle, Cosmo and Keats on his shoulder.  “We did a little bit of everything,” notes Behrens.  “We had plate-based shots because a splinter unit went out to Moab, Utah and shot a bunch of beautiful vistas for us.  For environments, there were shots where we had to do projections of plate material onto 3D geometry that we built. We had some DMPs that went into deep background. We also had to build out some actual legitimate 3D terrain for foreground and midground because a lot of the shots that had interaction with our hero characters rocking and back forth were shot on a bluescreen stage with a VW van on a large gimbal rig.  Then Liz had the fun job of trying to tie that into a giant robot walking with them.  We had to do some obvious tweaking to some of those motions. The establishing shots, where they are walking through this giant dead robot skeleton from who knows where, several of those were 100 percent CG. Once they get to the Mall, we had a big digital mall and a canyon area that had to look like they were once populated.”  Modifications were kept subtle.  “There were a couple of shots where we needed to move the plate VW van around a little bit,” states Bernard.  “You can’t do a lot without it starting to fall apart and lose perspective.”  “The biggest challenge was the scale and sheer number of characters needed that played a large role interacting with our human actors and creating a believable world for them to live in,” reflects Behrens.  “The sequence that I had the most fun with was the mine sequence with Herman and Keats, as far as their banter back and forth. Some of our most expansive work was the Mall and the walk across the Exclusion Zone.  Those had the most stunning visuals.”  Bernard agrees with her colleague.  “I’m going to sound like a broken record.  For me, it was the scale and the sheer number of characters that we had to deal with and keeping them feeling that they were all different, but from the same universe.  Having the animators working towards that same goal was a big challenge.  We had quite a large team on this one.  And I do love that mine sequence.  There is such good banter between Keats and Herman, especially early on in that sequence.  It has so much great action to it.  We got to drop a giant claw on top of The Marshall that he had to fight his way out of.  That was a hard shot.  And of course, the Mall is stunning.  You can see all the care that went into creating that environment and all those characters.  It’s beautiful.”      Trevor Hogg is a freelance video editor and writer best known for composing in-depth filmmaker and movie profiles for VFX Voice, Animation Magazine, and British Cinematographer.

Hans Noë wore many hats—architect, sculptor, Fanelli Cafe proprietor. He was also a Holocaust survivor, and a protégé of Tony Smith, Barnett Newman, and Mies van der Rohe. Noë died in his sleep on May 11 at his home in Garrison, New York, at age 96. Alva Noë, his son, confirmed his death for The New York Times. Noë had a retrospective in 2023 at New York’s National Museum of Mathematics curated by author Lawrence Weschler, reviewed by AN. This was just one of two solo shows the indelible artist had his entire life—the first was in 2021 at the Fireplace Project in East Hampton, New York. The deceased’s retrospectives were always by invitation of someone else, he never sought them out. That’s partially from trauma he carried with him since fleeing his childhood home in Czernowitz, a city in the Bukovinian region on the edge of the Austro-Hungarian empire in what is now southwestern Ukraine. House 1, East Hampton, New York c.1963 (Hans Noë) Noë was born in 1928. He saw the magisterial central synagogue just down the street from his Jewish family’s home get torched by the fascist Romanian army not long after. He spent his remaining teenage years hiding from the Gestapo. This trauma followed Noë wherever he went; his family immigrated from Europe to New York City on Christmas Day, 1949. In the handful of interviews he later gave, like those with Weschler, Noë said any glimmer of the limelight made him panic. He later admitted he had PTSD. After immigrating, Noë enrolled at Cooper Union, where he studied under Tony Smith, the subject of a new book edited by James Voorhies and Sarah Auld. There, he also met Barnett Newman, and stretched canvasses for Mark Rothko. He was in the same orbit as Jackson Pollock, Ad Reinhardt, Theodoros Stamos, and others. Noë told Weschler in 2023: “When it came to art, Tony became my father and Barney my uncle.” Noë later enrolled at the Illinois Institute of Technology (IIT) and studied under Mies van der Rohe. At IIT, he met a ceramics student, Judy Baldwin. They got married in 1960. House 2, East Hampton, New York c.1965 (Hans Noë) House 3, East Hampton, New York c.1971 (Hans Noë) Baldwin and Noë subsequently left Chicago and moved to New York. There, between 1963 and 1971, Noë designed and built 12 houses with his partner Richard Schust. Noë detested the client-facing side of practice, so he’d often build the homes himself, mostly on Long Island, with a team of friends and apprentices, and then sell them off. “I came to realize how a successful architect has to be not one but three things: he has to be a great architect, he has to be a great self-promoter, and he has to be a great businessman. And I was only one of those three,” Noë told Weschler in conversation. It was around this time when Noë started buying up properties in Soho, and renting them to artists. Noë bought Fanelli Cafe in the early-1970s. “When you opened the door” at Fanelli, Sasha Noë said, “the wind would come in, and it would make everyone cold. So he built a little half wall out of glass to keep people warm. But he didn’t make it look like it was built in 1847. He used his Mies van der Rohe knowledge to do it. He didn’t try to fake it.” Fanelli Cafe became a New York City staple, and Noë and Baldwin eventually moved to Garrison, New York, where they raised their family. There, he produced geometric wooden maquettes imbued with subtle poetic meaning—all in relative isolation and without celebration. Study by Hans Noë (Dario Lasagni) A model by Hans Noë on display at the National Museum of Mathematics (Dario Lasagni) “I used to imagine my general distaste for self-promotion and my indifference toward fame as sort of emblematic of a certain kind of moral or at any rate aesthetic superiority,” Noë said. “With high considered self-regard, I was refusing to enter into that whole delusional rat race.” “But I’m no longer so sure,” Noë continued. “I think rather that my problem may simply have been one of fear, a prolonged PTSD, as it were, with its roots wending back to my experience of the war, when survival enforced an entire regime of perpetual hiding, since any and every calling of attention to oneself could so easily have proven fatal not only to myself but to my entire family. And maybe it’s just that I never got over that way of being in the world.” House 3, East Hampton, New York c.1971 (Hans Noë) Today, Noë’s son, Sasha, still runs Fanelli and Alva is a world-renowned philosophy professor at UC Berkeley. Judy lives in Garrison, and Noë is survived by his children and grandchildren.

“Metamorphosis of Consciousness” (2025), mixed media, dimensions variable. All images courtesy of Red Brick Art Museum Through Fairy Lights and Butterflies, Chiharu Shiota Tethers Presence and Absence May 22, 2025 Art Grace Ebert In one of the foundational texts of Taoism, Chinese philosopher Zhuang Zhou recalls a dream in which he was a butterfly, soaring through the sky with no recollection of his human form. Upon waking, though, he finds himself firmly in a bipedal body, prompting an important question: is he a butterfly dreaming he’s Zhuang Zhou or a man dreaming he’s a butterfly? This ancient story of transformation and the thin line between states of mind informs a dazzling new installation by Chiharu Shiota (previously). “Metamorphosis of Consciousness” suspends glimmering lights and faint butterfly wings above an iron-framed twin bed topped with a white blanket and pillow. Rejecting the strict separation between body and mind, Shiota references her belief in the spirit’s ability to endure long after one’s final breath. “While each time we slip into sleep, it is a rehearsal for death—a journey beyond the body,” she says. “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable Exemplary of the artist’s interest in memory and knowledge, “Metamorphosis of Consciousness” is just one of the immersive works in the monumental exhibition Silent Emptiness at Red Brick Art Museum in Beijing. On view through August 31, the show revolves around Shiota’s ongoing explorations into the “presence in absence,” this time extending such inquiries into ideas of emptiness as it relates to Eastern philosophy and enlightenment. Included in the exhibtion is an antique Tibetan Buddhist doorway that anchors “Gateway to Silence,” an explosive installation that entwines the elaborately carved wood structure in a dense, criss-crossing labyrinth of string. Red thread, one of the artist’s favored materials, symbolizes relationships. And in this case, it’s an invitation to introspection and finding an awareness of the present moment. Metaphorically interlacing art, memory, and faith, Shiota very literally visualizes the intextricable web in which we’re all bound, regardless of geography or era. Pieces like “Echoes of Time” and “Rooted Memories” incorporate materials like soil and large stones, presenting the passage of time as cyclical and the past as always shaping the present. Detail of “Gateway to Silence” (2025), antique porch and red wool, dimensions variable Born in Osaka, the artist has lived in Berlin for much of her life, and Silent Emptiness also tethers her roots to more global experiences. Shiota likened her understanding of herself to the way salt molecules appear as crystals only after water evaporates. “I was not visible as an individual in Japan,” she says. “Whereas I did not know who I was, what I wanted to do, and what was necessary in the water, I feel that I became an individual and crystal, and understood those things for the first time by coming to Germany.” Another example of finding presence in absence, Shiota’s migration and experience of discovery provides an important touchstone for her thinking and practice. She adds, “Absence does not signify disappearance but rather an integration into a vaster universe, re-entering the flow of time and forming new connections with all things.” (via designboom) “Gateway to Silence” (2025, antique porch and red wool, dimensions variable Detail of “Gateway to Silence” (2025, antique porch and red wool, dimensions variable Detail of “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable Detail of “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable “Multiple Realities” (2025), mixed media, dimensions variable “Echoes of Time” (2025), black yarn and rock, dimensions variable “Echoes of Time” (2025), black yarn and rock, dimensions variable Next article

OpinionMay 20, 20254 min readA Good Workout Gets Your Helpful Gut Microbes in Shape, TooA workout boosts the fitness of your gut microbiome. This creates molecules that aids your immune system, metabolism, and moreBy Lydia Denworth Jay BendtThe idea that our workouts could benefit the trillions of microbes that live in our guts—bacteria and viruses that help our immune systems, metabolism, digestion, and other key bodily functions—isn’t obvious. At least it’s not as obvious as the connection between diet and the gut microbiome, as these microbes are called. But evidence is growing that an aerobic workout such as jogging can improve the health of the gut microbes, which in turn improves overall physical health. There are early indications that the relationship works the other way, too: a healthy gut microbiome seems to increase exercise capacity.“When people think about the gut, they default to diet and probiotics,” says Sara Campbell, an exercise physiologist at Rutgers University who specializes in gut microbiota. But now many scientists are “moving toward the reality that exercise can be beneficial for the intestines,” she says.A “healthy” microbiome usually means gut bacteria are abundant and diverse; exercise appears to affect both these qualities. The gut microbes of an elite athlete are more diverse than those of nonathletes or recreational athletes. But a more pertinent issue for health, says Jacob Allen, an exercise physiologist at the University of Illinois Urbana-Champaign, is “what the microbe is actually doing.”On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Aerobic exercise encourages activity in bacteria that produce short-chain fatty acids, which provide essential support for physiological processes.One important finding is that aerobic exercise encourages activity in bacteria that produce short-chain fatty acids, which provide essential support for physiological processes. Most fatty acid molecules consist of 16 or 18 carbons, but—as the name suggests—short-chain fatty acids range from just one to six.Of these smaller molecules, butyrate has emerged as an especially important link between exercise and the gut. It supplies energy for a variety of tissues, including the epithelial cells lining the gut, and it can reduce inflammation and improve the ability of cells to take in insulin. Our bodies naturally make a little bit of butyrate, but most is produced by microbes, and its output is boosted by aerobic exercise. (Very few studies have looked at the connection between strength training and butyrate levels, and those that have didn’t find the same effect.)This link between exercise and the gut was barely a glimmer in scientists’ eyes some 15 years ago, when exercise immunologist Marc Cook was a graduate student at the Urbana-Champaign campus. He knew exercise improved symptoms of inflammatory bowel disease, particularly the type called ulcerative colitis. But scientists didn’t understand why. Cook turned to mice to investigate and found that if they ran on a wheel, they were protected against a mouse version of colitis. In addition, there was a sevenfold increase in beneficial bacteria in the lining of the rodents’ colons.In a 2018 study, Allen, Cook (who is now at North Carolina A&T State University), and others tested a gut-health exercise intervention in humans for the first time. They trained both lean and obese people, all of whom were sedentary, to exercise on a treadmill or bike. Everyone started at moderate intensity three days a week and increased to one hour of high-intensity exercise per session.After six weeks all participants showed increases in butyrate and two other short-chain fatty acids, acetate and propionate. They also got the expected benefits of exercise, such as reductions in fat mass and improvements in cardiorespiratory fitness. (All the effects were greater in lean people, a finding that the researchers don’t yet understand.) After a further six weeks in which everyone stopped exercising, microbes in the gut returned to baseline levels, and health benefits decreased.Researchers haven’t fully teased out which effects of exercise can be directly attributed to microbiota versus the other changes brought on by physical activity, but there is a clear difference in gut environment. “We know there’s a slight shunting of blood toward the muscles and away from the gastrointestinal tract during exercise,” Allen says. That causes a small decrease in oxygen in gut tissue. There are changes in pH and temperature within the GI tract as well. Each of these shifts could affect which microbes survive.Studies in humans are complicated by the enormous diversity of microbiomes from person to person and from group to group. Researchers are now trying to account for differences in response. Campbell is investigating variations by sex. Cook is studying the effects of short-chain-fatty-acid-producing bacteria in Black people, who have a high rate of hypertension. In a pilot study, he and his colleagues identified bacteria associated with high blood pressure in Black athletes, and they hope to identify a target for intervention.As for the effects of microbiota on exercise capacity, most of that evidence comes from mice. Animals dosed with antibiotics to kill off their microbiomes exercise less than mice with healthy microbiomes and reach exhaustion faster. Research has also shown that an intact gut microbiota contributes to more muscle development.This evolving research doesn’t change the standard recommendation for human exercise, which is to engage in at least 150 minutes of moderate physical activity a week. But it adds strength to the arguments for doing such activity and may ultimately help explain why people respond to exercise differently. Someday there may even be a way boost the microbiome so that it responds better to time in the gym. Already, though, the science gives new meaning to the idea of gutting out your workout.This is an opinion and analysis article, and the views expressed by the author or authors are not necessarily those of Scientific American.

A new architecturally expressive, adaptive reuse project has been completed at Katendrecht, a historic Rotterdam port neighborhood. MAD Architects is behind the design for Fenix, an art institution founded in 2016 that centers migration. The venue is contextual: Rotterdam is today home to over 170 nationalities, thanks in part to its status as a port city. Fenix is sited inside an old warehouse from 1923 by architect Cornelis Nicolaas van Goor. The former San Francisco Warehouse was bombed during World War II, but rebuilt in the 1950s as two separate buildings: Fenix I and Fenix II. MAD Architects transformed the Fenix II building into the museum. The 172,000-square-foot hub marks the first major culture project in Europe by the international office. The ground floor was conceived as an indoor city square, the architects said. The venue is sited in Katendrecht, a historic Rotterdam port neighborhood. (© Iwan Baan) Fenix offers space for connection and exchange for communities all throughout Rotterdam, the museum said. The ground level will host large scale events, food gatherings, community meetings, performances, and also a kiosk with newspapers from around the world, much like the former Newseum in Washington, D.C. Likewise, Fenix has retail and dining options like cafes, bakeries, gelato and espresso bars. The multivalent artworks are spread throughout Fenix’s upper levels. Ground level view of the double-helix stair (© Iwan Baan) Rooftop view of the double-helix stair (© Iwan Baan) Among Fenix’s standout features is what MAD calls the Tornado, a double-helix staircase connecting visitors from the ground to a viewing platform high up above the city. This amenity affords views of the River Maas, Hotel New York, and former headquarters of the Holland America Line. Its metallic exterior reflects the buildings and people around it, and glimmers in the sun. The gallery walls were left untouched, revealing exposed concrete. Exhibition materials are staged in this industrial context, set up on partitions, or hung from ceilings. The building contains more than 150 artworks by Francis Alÿs, Max Beckmann, Sophie Calle, Honoré Daumier, and many others. Narrow windows draw natural light into the galleries. Tall ceiling heights allow for large artworks, like this one by Alle Richtingen. (© Iwan Baan) The Family of Migrants installation view (© Iwan Baan) The ephemera on view speaks to the peripatetic migratory experience: Personal mementos from people who immigrated to Rotterdam, a sliver of the Berlin Wall, a migrant boat from Lampedusa, and a passport from Nansen circa 1923, to name but a few examples. There are also travel documents issued to stateless refugees after World War I. Geographies by Francis Alÿs (Courtesy Fenix) “Migration stories are the heartbeat of Fenix,” museum director Anne Kremers said in a statement. “We’ve woven them into every element—whether it’s the magic of Ma Yansong’s architecture, the memories evoked by the artworks on display, the freely accessible Plein, or the gelateria by the Granucci family. We want everyone to feel welcome.”

Sergio Montúfar, “Cosmic Fire,” Volcán Acatenango, Guatemala. All images courtesy of the Milky Way Photographer of the Year, shared with permission The Brilliant Milky Way Connects Photographers Around the Globe and Beyond in an Annual Contest May 19, 2025 NaturePhotography Grace Ebert Each night, the Milky Way decorates darkened skies around the globe with a streak of glimmering stars and pink-orange dust. Stunning in its own right, our galaxy is ever more dazzling in the images topping the 2025 Milky Way Photographer of the Year contest. The annual competition, hosted by Capture the Atlas, received more than 6,000 submissions in its eighth year. Winning shots are each from a different location, including amid the moai sculptures of Easter Island, atop Taiwan’s Hehuan Mountain, and Yemen’s remote Socotra Island. For the first time, there’s even a view of the Milky Way from aboard the International Space Station, which astronaut Don Pettit captured while Earth glitters below. Rositsa Dimitrova, “The Night Guardians,” Easter Island, Chile While diverse in geography, approach, and technique, all of the photos are guided by the brilliant band of light in the distance. See all 25 winners on Capture the Atlas. Benjamin Barakat, “Bottle Tree Paradise,” Socotra, Yemen Marcin Rosadziński, “Stairway to Heaven,” Madeira Island, Portugal Don Pettit, “One in a Billion,” International Space Station Kavan Chay, “Evolution of Stars,” Otago, New Zealand Luis Cajete, “The Wave,” Coyote Buttes, Utah, U.S. Max Inwood, “A Sea of Lupines,” Lake Tekapo, New Zealand Ethan Su, “Blosoom,” Hehuan Mountain Dark Sky Park, Taiwan Anthony Lopez, “A Stellar View From The Cave,” Saint Raphael, France Next article

The Trump administration is apparently now putting pressure on Apple to stop developing an iPhone manufacturing ecosystem in India and bring the iPhone factories to the US instead.  With that in mind, let’s do a little thought experiment:  What would happen if Apple decided to move iPhone manufacturing to the US today? Nothing much to start with The first thing, of course, is that nothing would happen. Nothing could possibly happen that isn’t happening already. It can’t. You can’t magic this kind of iPhone manufacturing capacity out of thin air overnight. The factories don’t exist, the production equipment they need hasn’t been built yet, the land to put factories on hasn’t been purchased or even identified, the infrastructure around those sites hasn’t been upgraded to handle the inevitable traffic, the staff have not been recruited or trained, and Apple’s production partners would need to be convinced to deploy factories to America. The company would also need to build a logistical system to import components and precious metals that the US does not have or cannot supply. (And, yes, recycling and a circular manufacturing system would help with that.) How long do those problems take to solve?  We have a glimmer of an idea of how long it takes just by calculating the length of time it has taken for Apple to be able to shift about 20% of its iPhone manufacturing to India. Building production capacity to that point has taken a decade, and while iPhone manufacturing partners are rapidly expanding on this, obstacles to completely replacing China in the manufacturing chain remain.  If the US were willing to provide at least equivalent subsidies to help Apple and its partners set up shop in America as India has done to nurture industrial development there, then the best-case scenario says it would take at least another decade for Apple to shift production capacity to the US. At what price? But there would be other consequences of making such a move. India, which is a growing market for Apple, would not take it kindly, and sales growth there would shrink. Apple’s old partners in China would also be upset, which would cause even more Chinese consumers to abandon iPhones. (It matters that sales of foreign-brand smartphones in China are down 50%.) Losing face in those markets would damage Apple’s bottom line — consumers there would reject the company as a response to feeling rejected themselves — even as investing to build production capacity in the US would generate additional costs. And, of course, the cost of American labor is higher. The cumulative impact would be lower sales, higher costs, and inevitably lower revenue. Apple generating less money isn’t just a problem for Apple, it’s a problem for America, too. Apple is one of the biggest corporate taxpayers in the US, and the US government, military, and economy needs those tax dollars to keep rolling. The actual cost of transitioning manufacturing to the US wouldn’t just mean that Apple has to charge $3,000 per iPhone, it would also mean the US receives lower taxes. How does that make sense? For what benefit? Would it create jobs? That’s doubtful. The cost of labor and the shortage of key skills in the US would make it mandatory for these US iPhone factories to be highly automated. That would mean fewer manufacturing jobs than hoped for. There would be some, but not hundreds of thousands of them, and the increased cost of Apple products would inevitably make for more expensive devices, itself generating lower revenues. There is a sensible course of action, one that does create jobs and lays a strategic path toward US economic dominance in future.  That is to encourage Apple to site its high-value, cutting-edge product manufacturing facilities in the US. It makes sense to do this — Apple Vice President Eddy Cue told us why when he said that we cannot be certain people will still be buying iPhones in ten years’ time. (Ironically, that means that by the time the first US factories come online to produce iPhones, demand for the products they create may collapse.) Think in the long term The most sensible course is to invest in the skills, technologies, manufacturing capacity, component supply, and logistical support it takes to build the next generation of tech products, rather than cannibalizing demand for the ones that are selling like crazy today. Apple is already doing exactly this — it’s what its promised $500 billion investment in the US over the next four years represents. That huge pile of cash is being spent on the next-generation technologies that will drive the rest of this ‘American century.’ That’s where the Trump administration should be supporting Apple’s efforts. Creating the ecosystem for the future is the way forward, not decimating an already successful business model that already benefits the nation. As Steve Jobs used to say, quoting hockey great Wayne Gretzky: skate to where the puck is going to be, not where it has been. You can follow me on social media! Join me on BlueSky,  LinkedIn, and Mastodon.

Macworld Will the iPad ever become a true laptop replacement? The answer to that question heavily depends on who you ask. For certain students and professionals, the iPad Pro’s superior display, Apple Pencil input, and portability have made it the ideal productivity device. In fact, I earned my BA in English Language and Literature and worked as a TV script translator, all while relying solely on an iPad. However, it’s a different story for those with advanced workflows. Today, flagship iPads pack Apple’s M-series chipsets, similar to those powering the latest Macs. Nonetheless, the mobile operating system’s software limitations prevent the tablet from performing a range of desktop-class tasks. iPadOS 19 is rumored to address some of these shortcomings by improving multitasking, productivity, and window management. I’m all for that, but Apple needs to think big—these nine macOS features need to be at the centerpiece of the update to truly unlock the iPad’s full potential. App sideloading support macOS is the only Apple operating system that permits users to install apps outside the App Store without jumping through endless hoops. If an application fails the App Store’s unforgiving screening process, developers can still distribute it independently to users all over the world, which enables Mac users to install third-party apps that don’t necessarily comply with Apple’s guidelines.  I understand why Apple wants to keep sideloading away from the iPhone, but the iPad is a different animal. If your workflow depends on a noncompliant or niche app, there’s no straightforward way to obtain it on your iPad—and that’s a dealbreaker for many. To truly match desktop flexibility, iPadOS 19 should support direct .IPA file installation. Maybe then people can stop looking at it as a giant iPhone. Mac software compatibility The highest-end iPads now use the same processors as Mac computers. Yet, while macOS can run iPad apps, iPadOS still can’t run Mac software. Consequently, those relying on desktop-exclusive apps, such as Xcode, can’t completely ditch their computers. Similarly, those who already bought lifetime licenses for Final Cut Pro and Logic Pro on macOS can’t access these tools on their tablets (without paying recurring subscription fees for the mobile editions). Since the iPad has a cursor when connected to a Magic Keyboard, Apple could realistically address this limitation and expand the iPad’s app library by supporting Mac software on iPadOS 19. An improved cursor Speaking of the cursor, the one iPadOS has is significantly larger than that of macOS and features a magnetic effect that pulls it toward UI elements. I understand why it behaves that way, since iPadOS is a touch-first OS with large targets to accommodate human fingers, but it’s not conducive to getting serious work done. With iPadOS 19 and macOS 16 rumored to adopt similar looks, now is Apple’s chance to finally develop a more intuitive pointer for its tablet.  Window management needs to be priority No. 1 for iPadOS to be more like macOS.Foundry Enhanced window management Likewise, while iPadOS currently supports resizable app windows via Stage Manager, the feature is extremely limited compared to the Mac’s window management. The execution feels wonky and pushes me to use the traditional Split View and Slide Over multitasking features. iPadOS 19 is rumored to be getting a multitasking upgrade, and I can’t think of anything better than adopting a macOS-like approach that’s fully optimized for tablets. Upgraded built-in apps Ever since iOS and iPadOS split in 2019, Apple has been distinguishing its own iPad apps by offering new UIs exclusive to the larger displays. Nevertheless, in terms of functionality, these apps continue to mimic, even mirror, the iPhone and its limitations. So, macOS features such as Smart Playlists in Apple Music and system file browsing in Finder are absent from the iPad. To lure power users, iPadOS 19 should upgrade its stock apps by bringing over some of what we love about the Mac versions. Extended work environments Speaking of power users, the premium M4 iPad Pro still limits you to a single external monitor. Meanwhile, Macs support multiple physical screens and virtual desktops. This lets users jump between different sets of opened apps by creating several environments with distinct layouts based on the tasks they’re focusing on. Similar capabilities in iPadOS would help make it a much better platform for getting serious work done. Virtual desktops are a great thing for productivity and organization on the Mac, and they’d be just as good on the iPad.Foundry iPhone backup tools With a Mac and a USB-C cable, you can back up, restore, or update your iPhone just by plugging it in. While newer iPads can repair your bricked iPhone wirelessly, they’re incapable of creating local, full-device backups. Similarly, they can’t update your iPhone’s OS when it doesn’t have sufficient storage to download the package over the air. If Apple wants the iPad to be a true productivity device, it needs to have full control over the iPhone like the Mac. Multiple user profiles This is one that we’ve wanted forever. Many households have a single iPad shared by several people, but iPadOS is still tied to a single user. Apple has already built and shipped multi-user profiles, but confoundingly, it’s limited to iPads managed by educational institutions. We don’t know why Apple refuses to allow multiple users on the iPad, but that needs to change if Apple’s tablet wants to be more like the Mac. Continuity features Lastly, the Mac offers special Continuity features that work seamlessly with iOS. With macOS Monterey 12, Apple added support for AirPlay receiving, letting you cast media from your iPhone to the computer’s larger display. And with macOS Sequoia 15, the company introduced iPhone Mirroring, enabling users to fully control their iPhones, view iOS notifications, and more. Both of these features are missing from iPadOS, further chaining its potential. We don’t need to mirror our iPhone on the iPad as often as we do on our Macs, but it would be cool if we could.Foundry Could this be the year? The iPad seems to be stuck in limbo, and I struggle to figure out where it’s heading. There’s no denying that every annual OS update makes the device more capable, but ultimately, the new features all hit the same obstacles. For example, I had high hopes when Stage Manager was first announced, only to be disappointed by the same main set of limitations soon after trying it. When compared to Windows tablets such as Microsoft’s Surface, the iPad has a long way to go. But while I’m still skeptical, the iPadOS 19 rumors are a glimmer of hope. I’m doubtful that many of the features here make it to the iPad this year (or anytime soon for that matter), but iPadOS 19 is a chance for Apple to elevate the tablet above its iPhone roots and carve out a productivity niche for people who want something more versatile than a Mac. We’ll see if it happens.