• BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • Learning to Lead in the Digital Age: The AI Readiness Reflection

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    Learning to Lead in the Digital Age: The AI Readiness Reflection

    As the race to integrate generative AI accelerates, organizations face a dual challenge: fostering tech-savviness across teams while developing next-generation leadership competencies. These are critical to ensuring that “everyone” in the organization is prepared for continuous adaptation and change.

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    The post Learning to Lead in the Digital Age: The AI Readiness Reflection appeared first on Harvard Business Impact.
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    Learning to Lead in the Digital Age: The AI Readiness Reflection
    Insights Learning to Lead in the Digital Age: The AI Readiness Reflection As the race to integrate generative AI accelerates, organizations face a dual challenge: fostering tech-savviness across teams while developing next-generation leadership competencies. These are critical to ensuring that “everyone” in the organization is prepared for continuous adaptation and change. This AI Readiness Reflection is designed to help you assess where your leaders stand today and identify the optimal path to build the digital knowledge, mindset, skills, and leadership capabilities required to thrive in the future. Take the assessment now to discover how your current practices align with AI maturity—and gain actionable insights tailored to your organization’s readiness level. To download the full report, tell us a bit about yourself. First Name * Last Name * Job Title * Organization * Business Email * Country * — Please Select — United States United Kingdom Afghanistan Aland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory Brunei Darussalam Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Cayman Islands Central African Republic Chad Chile China Christmas Island CocosIslands Colombia Comoros Congo Congo, The Democratic Republic of Cook Islands Costa Rica Cote d’Ivoire Croatia Cuba Cyprus Czech Republic Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Falkland IslandsFaroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Holy SeeHonduras Hong Kong Hungary Iceland India Indonesia Iran, Islamic Republic of Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Korea, Democratic People’s Republic Korea, Republic of Kuwait Kyrgyzstan Lao People’s Democratic Republic Latvia Lebanon Lesotho Liberia Libyan Arab Jamahiriya Liechtenstein Lithuania Luxembourg Macao Macedonia The Former Yugoslav Republic Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia, Federated States of Moldova, Republic of Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands Norway Oman Pakistan Palau Palestinian Territory,Occupied Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Reunion Romania Russian Federation Rwanda Saint Helena Saint Kitts and Nevis Saint Lucia Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Serbia and Montenegro Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & Sandwich Islands Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syrian Arab Republic Taiwan Tajikistan Tanzania, United Republic of Thailand Timor-Leste Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu Uganda Ukraine United Arab Emirates United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Venezuela Viet Nam Virgin Islands, British Virgin Islands, U.S. Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe I’m interested in a follow-up discussion By checking this box, you agree to receive emails and communications from Harvard Business Impact. To opt-out, please visit our Privacy Policy. Digital Intelligence Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… : Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… : Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… : 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… : Leadership Fitness Behavioral Assessment Job Aid The post Learning to Lead in the Digital Age: The AI Readiness Reflection appeared first on Harvard Business Impact. #learning #lead #digital #age #readiness
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    Learning to Lead in the Digital Age: The AI Readiness Reflection
    Insights Learning to Lead in the Digital Age: The AI Readiness Reflection As the race to integrate generative AI accelerates, organizations face a dual challenge: fostering tech-savviness across teams while developing next-generation leadership competencies. These are critical to ensuring that “everyone” in the organization is prepared for continuous adaptation and change. This AI Readiness Reflection is designed to help you assess where your leaders stand today and identify the optimal path to build the digital knowledge, mindset, skills, and leadership capabilities required to thrive in the future. Take the assessment now to discover how your current practices align with AI maturity—and gain actionable insights tailored to your organization’s readiness level. To download the full report, tell us a bit about yourself. 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Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… Read more: Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… Read more: Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… Read more: 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… Read more: Leadership Fitness Behavioral Assessment Job Aid The post Learning to Lead in the Digital Age: The AI Readiness Reflection appeared first on Harvard Business Impact.
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  • Leadership Fitness Behavioral Assessment

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    Leadership Fitness Behavioral Assessment

    In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,” we identified four dimensions of leadership fitness that reframe how leaders see their environment as well as how they can lead differently through it.

    To help you evaluate your organization’s leadership maturity, we’ve created a tool to measure your leaders’ leadership fitness.

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    Leadership Fitness Behavioral Assessment
    Insights Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,” we identified four dimensions of leadership fitness that reframe how leaders see their environment as well as how they can lead differently through it. To help you evaluate your organization’s leadership maturity, we’ve created a tool to measure your leaders’ leadership fitness. Download the assessment today to uncover your score, and if desired, connect with one of our experts for personalized insights based on your results. To download the full report, tell us a bit about yourself. First Name * Last Name * Job Title * Organization * Business Email * Country * — Please Select — United States United Kingdom Afghanistan Aland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory Brunei Darussalam Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Cayman Islands Central African Republic Chad Chile China Christmas Island CocosIslands Colombia Comoros Congo Congo, The Democratic Republic of Cook Islands Costa Rica Cote d’Ivoire Croatia Cuba Cyprus Czech Republic Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Falkland IslandsFaroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Holy SeeHonduras Hong Kong Hungary Iceland India Indonesia Iran, Islamic Republic of Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Korea, Democratic People’s Republic Korea, Republic of Kuwait Kyrgyzstan Lao People’s Democratic Republic Latvia Lebanon Lesotho Liberia Libyan Arab Jamahiriya Liechtenstein Lithuania Luxembourg Macao Macedonia The Former Yugoslav Republic Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia, Federated States of Moldova, Republic of Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands Norway Oman Pakistan Palau Palestinian Territory,Occupied Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Reunion Romania Russian Federation Rwanda Saint Helena Saint Kitts and Nevis Saint Lucia Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Serbia and Montenegro Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & Sandwich Islands Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syrian Arab Republic Taiwan Tajikistan Tanzania, United Republic of Thailand Timor-Leste Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu Uganda Ukraine United Arab Emirates United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Venezuela Viet Nam Virgin Islands, British Virgin Islands, U.S. Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe I’m interested in a follow-up discussion By checking this box, you agree to receive emails and communications from Harvard Business Impact. To opt-out, please visit our Privacy Policy. Talent Management Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… : Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… : Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… : 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… : Leadership Fitness Behavioral Assessment Job Aid The post Leadership Fitness Behavioral Assessment appeared first on Harvard Business Impact. #leadership #fitness #behavioral #assessment
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    Leadership Fitness Behavioral Assessment
    Insights Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,” we identified four dimensions of leadership fitness that reframe how leaders see their environment as well as how they can lead differently through it. To help you evaluate your organization’s leadership maturity, we’ve created a tool to measure your leaders’ leadership fitness. Download the assessment today to uncover your score, and if desired, connect with one of our experts for personalized insights based on your results. To download the full report, tell us a bit about yourself. First Name * Last Name * Job Title * Organization * Business Email * Country * — Please Select — United States United Kingdom Afghanistan Aland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory Brunei Darussalam Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Congo, The Democratic Republic of Cook Islands Costa Rica Cote d’Ivoire Croatia Cuba Cyprus Czech Republic Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Falkland Islands (Malvinas) Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Holy See (Vatican City State) Honduras Hong Kong Hungary Iceland India Indonesia Iran, Islamic Republic of Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Korea, Democratic People’s Republic Korea, Republic of Kuwait Kyrgyzstan Lao People’s Democratic Republic Latvia Lebanon Lesotho Liberia Libyan Arab Jamahiriya Liechtenstein Lithuania Luxembourg Macao Macedonia The Former Yugoslav Republic Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia, Federated States of Moldova, Republic of Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands Norway Oman Pakistan Palau Palestinian Territory,Occupied Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Reunion Romania Russian Federation Rwanda Saint Helena Saint Kitts and Nevis Saint Lucia Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Serbia and Montenegro Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & Sandwich Islands Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syrian Arab Republic Taiwan Tajikistan Tanzania, United Republic of Thailand Timor-Leste Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu Uganda Ukraine United Arab Emirates United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Venezuela Viet Nam Virgin Islands, British Virgin Islands, U.S. Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe I’m interested in a follow-up discussion By checking this box, you agree to receive emails and communications from Harvard Business Impact. To opt-out, please visit our Privacy Policy. Talent Management Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… Read more: Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… Read more: Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… Read more: 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… Read more: Leadership Fitness Behavioral Assessment Job Aid The post Leadership Fitness Behavioral Assessment appeared first on Harvard Business Impact.
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  • Trump’s new travel ban, briefly explained

    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:
    #trumps #new #travel #ban #briefly
    Trump’s new travel ban, briefly explained
    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: #trumps #new #travel #ban #briefly
    WWW.VOX.COM
    Trump’s new travel ban, briefly explained
    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:
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  • Succeeding in the Digital Age: Why AI-First Leadership Is Essential

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    Succeeding in the Digital Age: Why AI-First Leadership Is Essential

    While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and contextual understanding that humans bring to strategic decision making.

    Effective AI integration requires leaders who can act as bridges between organizational goals and AI capabilities and then inspire their teams to trust and adopt AI tools to help achieve those goals.

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    Succeeding in the Digital Age: Why AI-First Leadership Is Essential

    While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and…

    : Succeeding in the Digital Age: Why AI-First Leadership Is Essential

    Perspectives

    Digital Intelligence

    4 Keys to AI-First Leadership: The New Imperative for Digital Transformation

    AI has become a defining force in reshaping industries and determining competitive advantage. To support…

    : 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation

    Infographic

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    Leadership Fitness Behavioral Assessment

    In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”…

    : Leadership Fitness Behavioral Assessment

    Job Aid

    The post Succeeding in the Digital Age: Why AI-First Leadership Is Essential appeared first on Harvard Business Impact.
    #succeeding #digital #age #why #aifirst
    Succeeding in the Digital Age: Why AI-First Leadership Is Essential
    Insights Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and contextual understanding that humans bring to strategic decision making. Effective AI integration requires leaders who can act as bridges between organizational goals and AI capabilities and then inspire their teams to trust and adopt AI tools to help achieve those goals. To download the full report, tell us a bit about yourself. 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To opt-out, please visit our Privacy Policy. Digital IntelligenceLeadership Development Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… : Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… : Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… : 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… : Leadership Fitness Behavioral Assessment Job Aid The post Succeeding in the Digital Age: Why AI-First Leadership Is Essential appeared first on Harvard Business Impact. #succeeding #digital #age #why #aifirst
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    Succeeding in the Digital Age: Why AI-First Leadership Is Essential
    Insights Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and contextual understanding that humans bring to strategic decision making. Effective AI integration requires leaders who can act as bridges between organizational goals and AI capabilities and then inspire their teams to trust and adopt AI tools to help achieve those goals. To download the full report, tell us a bit about yourself. First Name * Last Name * Job Title * Organization * Business Email * Country * — Please Select — United States United Kingdom Afghanistan Aland Islands Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua and Barbuda Argentina Armenia Aruba Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia and Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory Brunei Darussalam Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Cape Verde Cayman Islands Central African Republic Chad Chile China Christmas Island Cocos (Keeling) Islands Colombia Comoros Congo Congo, The Democratic Republic of Cook Islands Costa Rica Cote d’Ivoire Croatia Cuba Cyprus Czech Republic Denmark Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Ethiopia Falkland Islands (Malvinas) Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard Island and McDonald Islands Holy See (Vatican City State) Honduras Hong Kong Hungary Iceland India Indonesia Iran, Islamic Republic of Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Korea, Democratic People’s Republic Korea, Republic of Kuwait Kyrgyzstan Lao People’s Democratic Republic Latvia Lebanon Lesotho Liberia Libyan Arab Jamahiriya Liechtenstein Lithuania Luxembourg Macao Macedonia The Former Yugoslav Republic Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia, Federated States of Moldova, Republic of Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands Norway Oman Pakistan Palau Palestinian Territory,Occupied Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Poland Portugal Puerto Rico Qatar Reunion Romania Russian Federation Rwanda Saint Helena Saint Kitts and Nevis Saint Lucia Saint Pierre and Miquelon Saint Vincent and the Grenadines Samoa San Marino Sao Tome and Principe Saudi Arabia Senegal Serbia Serbia and Montenegro Seychelles Sierra Leone Singapore Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & Sandwich Islands Spain Sri Lanka Sudan Suriname Svalbard and Jan Mayen Swaziland Sweden Switzerland Syrian Arab Republic Taiwan Tajikistan Tanzania, United Republic of Thailand Timor-Leste Togo Tokelau Tonga Trinidad and Tobago Tunisia Turkey Turkmenistan Turks and Caicos Islands Tuvalu Uganda Ukraine United Arab Emirates United States Minor Outlying Islands Uruguay Uzbekistan Vanuatu Venezuela Viet Nam Virgin Islands, British Virgin Islands, U.S. Wallis and Futuna Western Sahara Yemen Zambia Zimbabwe By checking this box, you agree to receive emails and communications from Harvard Business Impact. To opt-out, please visit our Privacy Policy. Digital IntelligenceLeadership Development Share this resource Share on LinkedIn Share on Facebook Share on X Share on WhatsApp Email this Page Connect with us Change isn’t easy, but we can help. Together we’ll create informed and inspired leaders ready to shape the future of your business. Contact us Latest Insights Strategic Alignment Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units Harvard Business Publishing announced the launch of Harvard Business Impact, a new brand identity for… Read more: Harvard Business Publishing Unveils Harvard Business Impact as New Brand for Corporate Learning and Education Units News Digital Intelligence Succeeding in the Digital Age: Why AI-First Leadership Is Essential While AI makes powerful operational efficiencies possible, it cannot yet replace the creativity, adaptability, and… Read more: Succeeding in the Digital Age: Why AI-First Leadership Is Essential Perspectives Digital Intelligence 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation AI has become a defining force in reshaping industries and determining competitive advantage. To support… Read more: 4 Keys to AI-First Leadership: The New Imperative for Digital Transformation Infographic Talent Management Leadership Fitness Behavioral Assessment In our study, “Leadership Fitness: Developing the Capacity to See and Lead Differently Amid Complexity,”… Read more: Leadership Fitness Behavioral Assessment Job Aid The post Succeeding in the Digital Age: Why AI-First Leadership Is Essential appeared first on Harvard Business Impact.
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  • Five-Year Study Suggests Chimpanzees Strike Stones Against Trees As Form of Communication

    A five-year study by Wageningen University and the German Primate Research Center found that wild chimpanzees in Guinea-Bissau repeatedly strike stones against trees, presumably as a form of communication. Phys.Org reports: Over the course of a five-year field study, the research team collected video footage at five distinct locations within a nature reserve in Guinea-Bissau. This was made possible through the use of camera traps and with essential support from local field guides. In specific areas, a striking behavioral pattern was observed: adult male chimpanzees repeatedly struck stones against tree trunks, resulting in characteristic piles of stones at the base of these trees.The observations point to cultural transmission. Young chimpanzees adopt the behavior from older group members, indicating that it is learned socially rather than genetically inherited. Marc Naguib, Professor of Behavioral Ecology, underscores the broader significance of the discovery: "It illustrates that culture is not unique to humans and that such behaviors need to be considered also in nature conservation." The study is published in the journal Biology Letters.

    of this story at Slashdot.
    #fiveyear #study #suggests #chimpanzees #strike
    Five-Year Study Suggests Chimpanzees Strike Stones Against Trees As Form of Communication
    A five-year study by Wageningen University and the German Primate Research Center found that wild chimpanzees in Guinea-Bissau repeatedly strike stones against trees, presumably as a form of communication. Phys.Org reports: Over the course of a five-year field study, the research team collected video footage at five distinct locations within a nature reserve in Guinea-Bissau. This was made possible through the use of camera traps and with essential support from local field guides. In specific areas, a striking behavioral pattern was observed: adult male chimpanzees repeatedly struck stones against tree trunks, resulting in characteristic piles of stones at the base of these trees.The observations point to cultural transmission. Young chimpanzees adopt the behavior from older group members, indicating that it is learned socially rather than genetically inherited. Marc Naguib, Professor of Behavioral Ecology, underscores the broader significance of the discovery: "It illustrates that culture is not unique to humans and that such behaviors need to be considered also in nature conservation." The study is published in the journal Biology Letters. of this story at Slashdot. #fiveyear #study #suggests #chimpanzees #strike
    SCIENCE.SLASHDOT.ORG
    Five-Year Study Suggests Chimpanzees Strike Stones Against Trees As Form of Communication
    A five-year study by Wageningen University and the German Primate Research Center found that wild chimpanzees in Guinea-Bissau repeatedly strike stones against trees, presumably as a form of communication. Phys.Org reports: Over the course of a five-year field study, the research team collected video footage at five distinct locations within a nature reserve in Guinea-Bissau. This was made possible through the use of camera traps and with essential support from local field guides. In specific areas, a striking behavioral pattern was observed: adult male chimpanzees repeatedly struck stones against tree trunks, resulting in characteristic piles of stones at the base of these trees. [...] The observations point to cultural transmission. Young chimpanzees adopt the behavior from older group members, indicating that it is learned socially rather than genetically inherited. Marc Naguib, Professor of Behavioral Ecology, underscores the broader significance of the discovery: "It illustrates that culture is not unique to humans and that such behaviors need to be considered also in nature conservation." The study is published in the journal Biology Letters. Read more of this story at Slashdot.
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  • This AI scans Reddit for ‘extremist’ terms and plots bot-led intervention

    A computer science student is behind a new AI tool designed to track down Redditors showing signs of radicalization and deploy bots to “deradicalize” them through conversation. 

    First reported by 404 Media, PrismX was built by Sairaj Balaji, a computer science student at SRMIST in Chennai, India. The tool works by analyzing posts for specific keywords and patterns associated with extreme views, giving those users a “radical score.” High scorers are then targeted by AI bots programmed to attempt deradicalization through engaging the user in conversation. 

    According to the federal government, the primary terror threat to the U.S. now is individuals radicalized to violence online through social media. At the same time, fears around surveillance technology and artificial intelligence infiltrating online communities pose an ethical minefield. 

    Responding to concerns, Balaji clarified in a Linkedin post that the conversation part of the tool has not been tested on real Reddit users without consent. Instead, the scoring and conversation elements were used in simulated environments for research-purposes only. 

    “The tool was designed to provoke discussion, not controversy,” he explained in the post. “We’re at a point in history where rogue actors and nation-states are already deploying weaponized AI. If a college student can build something like PrismX, it raises urgent questions: Who’s watching the watchers?”

    While Balaji doesn’t claim to be an expert in deradicalization, as an engineer, he is interested in the ethical implications of surveillance technology. “Discomfort sparks debate. Debate leads to oversight. And oversight is how we prevent the misuse of emerging technologies,” he continued. 

    This isn’t the first time Redditors have been used as guinea pigs in recent months. Just last month, researchers from the University of Zurich faced intense backlash after experimenting on an unsuspecting subreddit. 

    The research involved deploying AI-powered bots into the r/ChangeMyView subreddit, which positions itself as a “place to post an opinion you accept may be flawed”, in an experiment to see if AI could be used to change peoples’ minds. When Redditors, and Reddit itself, found out they were being experimented on without their knowledge, they weren’t impressed. 

    Reddit’s chief legal officer, Ben Lee, wrote in a post that neither Reddit nor the r/changemyview mods knew about the experiment ahead of time. “What this University of Zurich team did is deeply wrong on both a moral and legal level,” Lee wrote. “It violates academic research and human rights norms, and is prohibited by Reddit’s user agreement and rules, in addition to the subreddit rules.” 

    While PrismX is not currently being tested on real unconsenting users, it piles on the ever-growing question of the role of artificial intelligence in human spaces. 
    #this #scans #reddit #extremist #terms
    This AI scans Reddit for ‘extremist’ terms and plots bot-led intervention
    A computer science student is behind a new AI tool designed to track down Redditors showing signs of radicalization and deploy bots to “deradicalize” them through conversation.  First reported by 404 Media, PrismX was built by Sairaj Balaji, a computer science student at SRMIST in Chennai, India. The tool works by analyzing posts for specific keywords and patterns associated with extreme views, giving those users a “radical score.” High scorers are then targeted by AI bots programmed to attempt deradicalization through engaging the user in conversation.  According to the federal government, the primary terror threat to the U.S. now is individuals radicalized to violence online through social media. At the same time, fears around surveillance technology and artificial intelligence infiltrating online communities pose an ethical minefield.  Responding to concerns, Balaji clarified in a Linkedin post that the conversation part of the tool has not been tested on real Reddit users without consent. Instead, the scoring and conversation elements were used in simulated environments for research-purposes only.  “The tool was designed to provoke discussion, not controversy,” he explained in the post. “We’re at a point in history where rogue actors and nation-states are already deploying weaponized AI. If a college student can build something like PrismX, it raises urgent questions: Who’s watching the watchers?” While Balaji doesn’t claim to be an expert in deradicalization, as an engineer, he is interested in the ethical implications of surveillance technology. “Discomfort sparks debate. Debate leads to oversight. And oversight is how we prevent the misuse of emerging technologies,” he continued.  This isn’t the first time Redditors have been used as guinea pigs in recent months. Just last month, researchers from the University of Zurich faced intense backlash after experimenting on an unsuspecting subreddit.  The research involved deploying AI-powered bots into the r/ChangeMyView subreddit, which positions itself as a “place to post an opinion you accept may be flawed”, in an experiment to see if AI could be used to change peoples’ minds. When Redditors, and Reddit itself, found out they were being experimented on without their knowledge, they weren’t impressed.  Reddit’s chief legal officer, Ben Lee, wrote in a post that neither Reddit nor the r/changemyview mods knew about the experiment ahead of time. “What this University of Zurich team did is deeply wrong on both a moral and legal level,” Lee wrote. “It violates academic research and human rights norms, and is prohibited by Reddit’s user agreement and rules, in addition to the subreddit rules.”  While PrismX is not currently being tested on real unconsenting users, it piles on the ever-growing question of the role of artificial intelligence in human spaces.  #this #scans #reddit #extremist #terms
    WWW.FASTCOMPANY.COM
    This AI scans Reddit for ‘extremist’ terms and plots bot-led intervention
    A computer science student is behind a new AI tool designed to track down Redditors showing signs of radicalization and deploy bots to “deradicalize” them through conversation.  First reported by 404 Media, PrismX was built by Sairaj Balaji, a computer science student at SRMIST in Chennai, India. The tool works by analyzing posts for specific keywords and patterns associated with extreme views, giving those users a “radical score.” High scorers are then targeted by AI bots programmed to attempt deradicalization through engaging the user in conversation.  According to the federal government, the primary terror threat to the U.S. now is individuals radicalized to violence online through social media. At the same time, fears around surveillance technology and artificial intelligence infiltrating online communities pose an ethical minefield.  Responding to concerns, Balaji clarified in a Linkedin post that the conversation part of the tool has not been tested on real Reddit users without consent. Instead, the scoring and conversation elements were used in simulated environments for research-purposes only.  “The tool was designed to provoke discussion, not controversy,” he explained in the post. “We’re at a point in history where rogue actors and nation-states are already deploying weaponized AI. If a college student can build something like PrismX, it raises urgent questions: Who’s watching the watchers?” While Balaji doesn’t claim to be an expert in deradicalization, as an engineer, he is interested in the ethical implications of surveillance technology. “Discomfort sparks debate. Debate leads to oversight. And oversight is how we prevent the misuse of emerging technologies,” he continued.  This isn’t the first time Redditors have been used as guinea pigs in recent months. Just last month, researchers from the University of Zurich faced intense backlash after experimenting on an unsuspecting subreddit.  The research involved deploying AI-powered bots into the r/ChangeMyView subreddit, which positions itself as a “place to post an opinion you accept may be flawed”, in an experiment to see if AI could be used to change peoples’ minds. When Redditors, and Reddit itself, found out they were being experimented on without their knowledge, they weren’t impressed.  Reddit’s chief legal officer, Ben Lee, wrote in a post that neither Reddit nor the r/changemyview mods knew about the experiment ahead of time. “What this University of Zurich team did is deeply wrong on both a moral and legal level,” Lee wrote. “It violates academic research and human rights norms, and is prohibited by Reddit’s user agreement and rules, in addition to the subreddit rules.”  While PrismX is not currently being tested on real unconsenting users, it piles on the ever-growing question of the role of artificial intelligence in human spaces. 
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  • An extreme ocean heat wave did something remarkable to these fish

    During a severe heat wave in 2023, scientists scuba diving off the coast of Papua New Guinea captured clownfish to measure their bodies. Between February and August, they calculated the length of 134 of these iconic, orange and white fish once a month, taking a total of six measurements for each fish.Those measurements revealed something peculiar: Most of the fish shrank.This week, the researchers reported their findings in Science Advances, concluding that the fish got shorter — on the scale of a few millimeters, or a small, single-digit percent of their length — in response to the heat wave.Morgan Bennett-Smith“We were so surprised to see shrinking in these fish that, to be sure, we measured each fish individual repeatedly over a period of five months,” said Melissa Versteeg, a doctoral researcher at Newcastle University, who led the study in collaboration with Mahonia Na Dari, an environmental organization, and Walindi Resort. “In the end, we discoveredwas very common in this population.”Versteeg and her colleagues don’t know how, exactly, the fish are shrinking — one untested idea is that the fish might be reabsorbing some of their bone material or tissue. But getting smaller isn’t a problem. In fact, the study found, it may be an adaptation to help clownfish survive hotter ocean temperatures.Morgan Bennett-SmithWhen it’s good to be smallLast year, the planet was about 2.65 degrees warmer than it was in the late 1800s. This level of warming impacts wild animals in a number of strange, mostly bad, ways, from fueling koala-killing wildfires to causing corals to bleach and then starve.But rising temperatures also appear to be making many species smaller. One especially striking study, published in 2019, found that birds shrank by an average of about 2.6 percent between 1978 and 2016. More recent analyses have linked rising temperatures to a reduction in body size of small mammals in North America and marine fish. Most of these existing studies report that animals, on average, are simply not growing as large.The new study on clownfish, however, suggests individual fish are shrinking over mere weeks in response to a heat wave, which, in the case of the Papua New Guinea event, pushed temperatures in the bay about 7 degreesabove average.Why do they do this?Being tiny has its advantages in a hot climate: Warm-blooded animals, like mammals, shed heat more easily when they’re small and this helps them cool down. The benefits for cold-blooded creatures, such as clownfish, aren’t as clear, though researchers think they may have an easier time meeting their bodies’ energy requirements when they’re small.Morgan Bennett-SmithRegardless of the reason, being small seems to help clownfish when it’s hot. The fish that shrank, the study found, had a much higher chance of surviving.“It was a surprise to see how rapidly clownfish can adapt to a changing environment,” Versteeg said. “We witnessed how flexibly they regulated their size, as individuals and as breeding pairs, in response to heat stress as a successful technique to help them survive.”The study adds a layer of complexity to what is otherwise a depressing tale about the world’s oceans. Heat waves linked to climate change, like the one that occurred during this study, are utterly devastating coral reefs — and in severe cases, are nearly wiping out entire reef sections. These colorful ecosystems are home to countless marine animals, including those we eat, like snappers, and clownfish.Amid that loss, animals are proving highly resilient. They’re trying hard to hold on. Yet if warming continues, even the best adaptations may not be enough.See More:
    #extreme #ocean #heat #wave #did
    An extreme ocean heat wave did something remarkable to these fish
    During a severe heat wave in 2023, scientists scuba diving off the coast of Papua New Guinea captured clownfish to measure their bodies. Between February and August, they calculated the length of 134 of these iconic, orange and white fish once a month, taking a total of six measurements for each fish.Those measurements revealed something peculiar: Most of the fish shrank.This week, the researchers reported their findings in Science Advances, concluding that the fish got shorter — on the scale of a few millimeters, or a small, single-digit percent of their length — in response to the heat wave.Morgan Bennett-Smith“We were so surprised to see shrinking in these fish that, to be sure, we measured each fish individual repeatedly over a period of five months,” said Melissa Versteeg, a doctoral researcher at Newcastle University, who led the study in collaboration with Mahonia Na Dari, an environmental organization, and Walindi Resort. “In the end, we discoveredwas very common in this population.”Versteeg and her colleagues don’t know how, exactly, the fish are shrinking — one untested idea is that the fish might be reabsorbing some of their bone material or tissue. But getting smaller isn’t a problem. In fact, the study found, it may be an adaptation to help clownfish survive hotter ocean temperatures.Morgan Bennett-SmithWhen it’s good to be smallLast year, the planet was about 2.65 degrees warmer than it was in the late 1800s. This level of warming impacts wild animals in a number of strange, mostly bad, ways, from fueling koala-killing wildfires to causing corals to bleach and then starve.But rising temperatures also appear to be making many species smaller. One especially striking study, published in 2019, found that birds shrank by an average of about 2.6 percent between 1978 and 2016. More recent analyses have linked rising temperatures to a reduction in body size of small mammals in North America and marine fish. Most of these existing studies report that animals, on average, are simply not growing as large.The new study on clownfish, however, suggests individual fish are shrinking over mere weeks in response to a heat wave, which, in the case of the Papua New Guinea event, pushed temperatures in the bay about 7 degreesabove average.Why do they do this?Being tiny has its advantages in a hot climate: Warm-blooded animals, like mammals, shed heat more easily when they’re small and this helps them cool down. The benefits for cold-blooded creatures, such as clownfish, aren’t as clear, though researchers think they may have an easier time meeting their bodies’ energy requirements when they’re small.Morgan Bennett-SmithRegardless of the reason, being small seems to help clownfish when it’s hot. The fish that shrank, the study found, had a much higher chance of surviving.“It was a surprise to see how rapidly clownfish can adapt to a changing environment,” Versteeg said. “We witnessed how flexibly they regulated their size, as individuals and as breeding pairs, in response to heat stress as a successful technique to help them survive.”The study adds a layer of complexity to what is otherwise a depressing tale about the world’s oceans. Heat waves linked to climate change, like the one that occurred during this study, are utterly devastating coral reefs — and in severe cases, are nearly wiping out entire reef sections. These colorful ecosystems are home to countless marine animals, including those we eat, like snappers, and clownfish.Amid that loss, animals are proving highly resilient. They’re trying hard to hold on. Yet if warming continues, even the best adaptations may not be enough.See More: #extreme #ocean #heat #wave #did
    WWW.VOX.COM
    An extreme ocean heat wave did something remarkable to these fish
    During a severe heat wave in 2023, scientists scuba diving off the coast of Papua New Guinea captured clownfish to measure their bodies. Between February and August, they calculated the length of 134 of these iconic, orange and white fish once a month, taking a total of six measurements for each fish.Those measurements revealed something peculiar: Most of the fish shrank.This week, the researchers reported their findings in Science Advances, concluding that the fish got shorter — on the scale of a few millimeters, or a small, single-digit percent of their length — in response to the heat wave.Morgan Bennett-Smith“We were so surprised to see shrinking in these fish that, to be sure, we measured each fish individual repeatedly over a period of five months,” said Melissa Versteeg, a doctoral researcher at Newcastle University, who led the study in collaboration with Mahonia Na Dari, an environmental organization, and Walindi Resort. “In the end, we discovered [that downsizing] was very common in this population.”Versteeg and her colleagues don’t know how, exactly, the fish are shrinking — one untested idea is that the fish might be reabsorbing some of their bone material or tissue. But getting smaller isn’t a problem. In fact, the study found, it may be an adaptation to help clownfish survive hotter ocean temperatures.Morgan Bennett-SmithWhen it’s good to be smallLast year, the planet was about 2.65 degrees warmer than it was in the late 1800s. This level of warming impacts wild animals in a number of strange, mostly bad, ways, from fueling koala-killing wildfires to causing corals to bleach and then starve.But rising temperatures also appear to be making many species smaller. One especially striking study, published in 2019, found that birds shrank by an average of about 2.6 percent between 1978 and 2016. More recent analyses have linked rising temperatures to a reduction in body size of small mammals in North America and marine fish. Most of these existing studies report that animals, on average, are simply not growing as large.The new study on clownfish, however, suggests individual fish are shrinking over mere weeks in response to a heat wave, which, in the case of the Papua New Guinea event, pushed temperatures in the bay about 7 degrees (4 degrees Celsius) above average.Why do they do this?Being tiny has its advantages in a hot climate: Warm-blooded animals, like mammals, shed heat more easily when they’re small and this helps them cool down. The benefits for cold-blooded creatures, such as clownfish, aren’t as clear, though researchers think they may have an easier time meeting their bodies’ energy requirements when they’re small.Morgan Bennett-SmithRegardless of the reason, being small seems to help clownfish when it’s hot. The fish that shrank, the study found, had a much higher chance of surviving.“It was a surprise to see how rapidly clownfish can adapt to a changing environment,” Versteeg said. “We witnessed how flexibly they regulated their size, as individuals and as breeding pairs, in response to heat stress as a successful technique to help them survive.”The study adds a layer of complexity to what is otherwise a depressing tale about the world’s oceans. Heat waves linked to climate change, like the one that occurred during this study, are utterly devastating coral reefs — and in severe cases, are nearly wiping out entire reef sections. These colorful ecosystems are home to countless marine animals, including those we eat, like snappers, and clownfish.Amid that loss, animals are proving highly resilient. They’re trying hard to hold on. Yet if warming continues, even the best adaptations may not be enough.See More:
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  • See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea's Mountains

    See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea’s Mountains
    Working with local Indigenous people, biologist František Vejmělka spent six months surveying the creatures that live on Mount Wilhelm in Papua New Guinea

    Trail cameras recorded nocturnal subalpine woolly rats roaming around in search of plants to eat.
    Czech Academy of Sciences

    The subalpine woolly rat lives high in the mountains of New Guinea, where it spends its nights searching for plants to eat and its days hiding in underground burrows or tree canopies. This furry rodent is massive, measuring more than 2.5 feet from nose to tail and tipping the scales at more than four pounds.
    But despite its large size, the subalpine woolly ratis incredibly elusive. First described in 1989, the species was only known to scientists because of a few museum specimens, and it had never been photographed in the wild—until now.
    František Vejmělka, a biologist at the Czech Academy of Sciences and the University of South Bohemia, spent six months exploring the highlands of Papua New Guinea. With help from local Indigenous people, he surveyed and genetically identified 61 species of rodents and marsupials found on Mount Wilhelm, a 14,793-foot peak and the country’s highest mountain. But perhaps his most significant work centered around the subalpine woolly rat.
    Vejmělka captured the first photos and videos of the mysterious creature in the wild. He also caught a few individuals, which allowed him to take the first biometric measurements of males and gather data about the rats’ behavior, diet and parasites. He shared his findings in a paper published April 18 in the journal Mammalia.

    By capturing several subalpine woolly rats, František Vejmělka was able to take the first biometric measurements of males of the species.

    Czech Academy of Sciences

    “It’s astonishing that such a large and striking animal has remained so poorly studied. How much more is there to discover about the biodiversity of tropical mountains?” Vejmělka says in a statement shared last week.
    The subalpine woolly rat is the biggest rodent in Australia and Oceania, and it’s one of the largest in the world. It’s a “striking and formidable creature,” with three-inch-long paws, sharp teeth and dense, shaggy fur covering most of its body, according to the statement.
    But these rodents are only active at night, and they live between 10,500 and 12,140 feet above sea level. Their rugged, remote habitats, coupled with their nocturnal habits, have made them difficult for researchers to study.

    Subalpine Woolly Rat Filmed For The First Time
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    Vejmělka was up for the challenge. He wanted to know more about this mysterious species, as well as the mammalian diversity of New Guinea more broadly. For help, he turned to several tribes living on Mount Wilhelm. Their support and collaboration were crucial to the project, he says.

    The rats spend their days hiding in underground burrows or tree canopies, but they come out at night to search for food.

    Czech Academy of Sciences

    “If it weren’t for the Indigenous hunters who accompanied me in the mountains and helped me locate the animals, I would never have been able to collect this data,” he says in the statement.
    From trail camera footage and biometric observations, Vejmělka was able to glean several new insights into the lives of these mysterious creatures. He learned they primarily eat ferns and other plant material, for example, and that both males and females have a reddish brown color on their chests, reports IFLScience’s Eleanor Higgs.
    The species’ large size is likely due to “insular gigantism,” a biological phenomenon in which animals on islands evolve to become larger than those on the mainland, Vejmělka tells Live Science’s Jess Thomson in an email.
    Scientists think the rodents’ predecessors first arrived on New Guinea roughly five million years ago. Without much competition to worry about, they’ve been able to adapt to the rainforest landscape and thrive.
    “Their ancestors arrived from Asia to the island completely absent of any other terrestrial placental mammals,” Vejmělka adds to Live Science.

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    See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea's Mountains
    See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea’s Mountains Working with local Indigenous people, biologist František Vejmělka spent six months surveying the creatures that live on Mount Wilhelm in Papua New Guinea Trail cameras recorded nocturnal subalpine woolly rats roaming around in search of plants to eat. Czech Academy of Sciences The subalpine woolly rat lives high in the mountains of New Guinea, where it spends its nights searching for plants to eat and its days hiding in underground burrows or tree canopies. This furry rodent is massive, measuring more than 2.5 feet from nose to tail and tipping the scales at more than four pounds. But despite its large size, the subalpine woolly ratis incredibly elusive. First described in 1989, the species was only known to scientists because of a few museum specimens, and it had never been photographed in the wild—until now. František Vejmělka, a biologist at the Czech Academy of Sciences and the University of South Bohemia, spent six months exploring the highlands of Papua New Guinea. With help from local Indigenous people, he surveyed and genetically identified 61 species of rodents and marsupials found on Mount Wilhelm, a 14,793-foot peak and the country’s highest mountain. But perhaps his most significant work centered around the subalpine woolly rat. Vejmělka captured the first photos and videos of the mysterious creature in the wild. He also caught a few individuals, which allowed him to take the first biometric measurements of males and gather data about the rats’ behavior, diet and parasites. He shared his findings in a paper published April 18 in the journal Mammalia. By capturing several subalpine woolly rats, František Vejmělka was able to take the first biometric measurements of males of the species. Czech Academy of Sciences “It’s astonishing that such a large and striking animal has remained so poorly studied. How much more is there to discover about the biodiversity of tropical mountains?” Vejmělka says in a statement shared last week. The subalpine woolly rat is the biggest rodent in Australia and Oceania, and it’s one of the largest in the world. It’s a “striking and formidable creature,” with three-inch-long paws, sharp teeth and dense, shaggy fur covering most of its body, according to the statement. But these rodents are only active at night, and they live between 10,500 and 12,140 feet above sea level. Their rugged, remote habitats, coupled with their nocturnal habits, have made them difficult for researchers to study. Subalpine Woolly Rat Filmed For The First Time Watch on Vejmělka was up for the challenge. He wanted to know more about this mysterious species, as well as the mammalian diversity of New Guinea more broadly. For help, he turned to several tribes living on Mount Wilhelm. Their support and collaboration were crucial to the project, he says. The rats spend their days hiding in underground burrows or tree canopies, but they come out at night to search for food. Czech Academy of Sciences “If it weren’t for the Indigenous hunters who accompanied me in the mountains and helped me locate the animals, I would never have been able to collect this data,” he says in the statement. From trail camera footage and biometric observations, Vejmělka was able to glean several new insights into the lives of these mysterious creatures. He learned they primarily eat ferns and other plant material, for example, and that both males and females have a reddish brown color on their chests, reports IFLScience’s Eleanor Higgs. The species’ large size is likely due to “insular gigantism,” a biological phenomenon in which animals on islands evolve to become larger than those on the mainland, Vejmělka tells Live Science’s Jess Thomson in an email. Scientists think the rodents’ predecessors first arrived on New Guinea roughly five million years ago. Without much competition to worry about, they’ve been able to adapt to the rainforest landscape and thrive. “Their ancestors arrived from Asia to the island completely absent of any other terrestrial placental mammals,” Vejmělka adds to Live Science. Get the latest stories in your inbox every weekday. #see #first #photos #videos #rare
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    See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea's Mountains
    See the First Photos and Videos of the Rare Subalpine Woolly Rat, a Massive but Elusive Rodent in New Guinea’s Mountains Working with local Indigenous people, biologist František Vejmělka spent six months surveying the creatures that live on Mount Wilhelm in Papua New Guinea Trail cameras recorded nocturnal subalpine woolly rats roaming around in search of plants to eat. Czech Academy of Sciences The subalpine woolly rat lives high in the mountains of New Guinea, where it spends its nights searching for plants to eat and its days hiding in underground burrows or tree canopies. This furry rodent is massive, measuring more than 2.5 feet from nose to tail and tipping the scales at more than four pounds. But despite its large size, the subalpine woolly rat (Mallomys istapantap) is incredibly elusive. First described in 1989, the species was only known to scientists because of a few museum specimens, and it had never been photographed in the wild—until now. František Vejmělka, a biologist at the Czech Academy of Sciences and the University of South Bohemia, spent six months exploring the highlands of Papua New Guinea. With help from local Indigenous people, he surveyed and genetically identified 61 species of rodents and marsupials found on Mount Wilhelm, a 14,793-foot peak and the country’s highest mountain. But perhaps his most significant work centered around the subalpine woolly rat. Vejmělka captured the first photos and videos of the mysterious creature in the wild. He also caught a few individuals, which allowed him to take the first biometric measurements of males and gather data about the rats’ behavior, diet and parasites. He shared his findings in a paper published April 18 in the journal Mammalia. By capturing several subalpine woolly rats, František Vejmělka was able to take the first biometric measurements of males of the species. Czech Academy of Sciences “It’s astonishing that such a large and striking animal has remained so poorly studied. How much more is there to discover about the biodiversity of tropical mountains?” Vejmělka says in a statement shared last week. The subalpine woolly rat is the biggest rodent in Australia and Oceania, and it’s one of the largest in the world. It’s a “striking and formidable creature,” with three-inch-long paws, sharp teeth and dense, shaggy fur covering most of its body, according to the statement. But these rodents are only active at night, and they live between 10,500 and 12,140 feet above sea level. Their rugged, remote habitats, coupled with their nocturnal habits, have made them difficult for researchers to study. Subalpine Woolly Rat Filmed For The First Time Watch on Vejmělka was up for the challenge. He wanted to know more about this mysterious species, as well as the mammalian diversity of New Guinea more broadly. For help, he turned to several tribes living on Mount Wilhelm. Their support and collaboration were crucial to the project, he says. The rats spend their days hiding in underground burrows or tree canopies, but they come out at night to search for food. Czech Academy of Sciences “If it weren’t for the Indigenous hunters who accompanied me in the mountains and helped me locate the animals, I would never have been able to collect this data,” he says in the statement. From trail camera footage and biometric observations, Vejmělka was able to glean several new insights into the lives of these mysterious creatures. He learned they primarily eat ferns and other plant material, for example, and that both males and females have a reddish brown color on their chests, reports IFLScience’s Eleanor Higgs. The species’ large size is likely due to “insular gigantism,” a biological phenomenon in which animals on islands evolve to become larger than those on the mainland, Vejmělka tells Live Science’s Jess Thomson in an email. Scientists think the rodents’ predecessors first arrived on New Guinea roughly five million years ago. Without much competition to worry about, they’ve been able to adapt to the rainforest landscape and thrive. “Their ancestors arrived from Asia to the island completely absent of any other terrestrial placental mammals (only marsupials and monotremes),” Vejmělka adds to Live Science. Get the latest stories in your inbox every weekday.
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