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

From Tokyo to Taipei, Ho Chi Minh to Seoul, Asia Pacific has long been a powerhouse in global esports. However, until now, the region's role in the League of Legends ecosystem lacked a central stage. That's all about to change with the inception of League of Legends Championship Pacific (LCP), Riot Games' ambitious new league for APAC. This is the game developer's most significant step yet in unifying its fragmented competitive landscape. To bring that vision to life, Riot partnered with brand and digital studio Koto to craft an identity that would speak to fans across cultures, languages, and gaming styles. The result is a full-spectrum design system shaped by the region, for the region, and built to evolve alongside the fast-moving world of esports. "At its heart, this project was about building pride and momentum," says Koto creative director Melissa Baillache. "Riot made it clear from the beginning: they wanted to give fans a brand that belongs to them." The LCP brand makes that intent clear from the get-go. Under the platform What We're Made Of, Koto constructed an identity rooted in regional passion, from Japan's Oshi-style fandoms to Southeast Asia's hyper-social esports culture. The line isn't just a slogan; it's a rallying cry, making it clear that APAC isn't just participating in global esports – it's here to lead. Designing for competition and community Visually, the brand needed to deliver across an incredible range of touchpoints, from social teasers and broadcast graphics to merch, memes, and fan-created content. The design system is centred on The Pinnacle: a five-player emblem representing unity and competitive intensity. Rendered in molten, 3D finishes, it's a symbol of regional ambition and the raw energy of top-tier play. That energy carries through a modular graphic system inspired by League's own gameplay, specifically the three in-game lanes that structure how matches unfold. This system offers a flexible yet distinctive frame for everything from stat-heavy broadcast overlays to highlight reels and in-arena hype moments. The motion language is just as purposeful. It's fast, focused, and reactive, designed to mirror the breakneck pace of in-game action and the way fans consume esports content in real-time. Whether counting down to kick-off or amplifying a clutch play, the system pulses with immediacy. Voice with impact Koto also worked to develop a voice that cuts through the noise of a crowded digital space. LCP's tone is raw, energised, and emotionally charged, with tight headlines and punchy copy that speaks directly to fans. It's not just branding; it's storytelling engineered for social moments, match trailers, post-game celebrations, and everything in between. The studio's verbal system extends to campaign slogans, hashtags, and commentary-style callouts, all of which work together to build momentum, fuel rivalries, and stoke regional pride. A custom typeface that sets the tempo At the core of the visual identity is LCP Ignite, a custom variable typeface designed to capture the rhythm and sharpness of League gameplay. Inspired by the 'fired up' ethos of competitive play, it flexes across every format, from match stats and player quotes to dynamic on-screen graphics. Given the region's linguistic diversity, the system also includes a suite of secondary typefaces (including Archivo, Kinkakuji and Thonglor Soi 4 Nr) to ensure legibility and consistency in languages across APAC. The goal here was to create a type system that speaks to everyone, from die-hard fans to casual mobile viewers wherever they are. Fuel for fandom Koto's system goes beyond expectations by creating tools that grow with the community. A suite of icons and illustrations—all drawn from the strokes and geometry of LCP Ignite—provides creative fuel for Riot and fans. These assets flex across platforms, helping commentators, players, and creators build content that feels cohesive but never prescriptive. Gerald Torto, senior strategy director at Koto, says: "The goal with LCP was to frame the league not just as a competition, but as a cultural force. The energy and sentiment captured in the idea 'What We're Made Of' is a fitting platform. It gives APAC an unapologetic and proud voice that looks ahead to an exciting future." The scale of the system matches that ambition. Alongside Riot's APAC PubSports team, Koto delivered a complete brand toolkit with hundreds of assets – spanning physical, digital, and broadcast formats – built to scale across seasons, teams, and evolving tournament formats. Setting the stage for APAC's next era What sets this project apart is its commitment to longevity. LCP is a vast infrastructure investment into the future of competitive gaming in APAC, and the brand has already begun rolling out teaser campaigns, test broadcasts, and live events, setting the stage for a new chapter in League of Legends. As Koto continues to expand its presence in the region, the LCP identity is a strong signal of what's possible when global ambition meets regional nuance. It's also a showcase of what the Sydney studio brings to the table: cross-cultural fluency, strategic storytelling, and a flair for building scalable, high-impact identities with soul. With the official launch of LCP now live, Riot and Koto are inviting the world to witness what the region is made of.

Conferences can be great for creating energy and fueling motivation. I recently attended a creative living workshop led by Elizabeth Gilbert at Canyon Ranch in Tucson, Arizona. I left feeling ready to take on the world.  Unfortunately, that feeling can fade when you log off the computer, step off the plane, or simply reenter normal life. For me, my feeling of confidence toward more creative projects started to dwindle and imposter syndrome reentered my internal dialogue. “Inspirational environments trigger a dopamine response that temporarily alters our baseline state, creating what neuroscientists call a peak state,” says Andrew Hogue, co-CEO of the nervous system wellness app Neurofit. “But this physiological shift has evolved to be temporary. Your nervous system naturally regulates back to its usual set point once you return to everyday life.” While it’s natural for the excitement to wane, there are things you can do to relight the fire. Here are five ways to keep the energy going: Start Small Resist the urge to overhaul yourself with everything you just learned immediately, say Corry Frazier and Melissa Pepin, entrepreneur business coaches at The Business Reboot. Instead, give yourself time to sit with these fresh ideas and see what resonates. “What aligns best with you?” asks Frazier. “Think of it like waiting 24 hours before making a big purchase—if it still feels like the right move after some reflection, then it’s worth pursuing.” Darcy Eikenberg, author of Red Cape Rescue: Save Your Career Without Leaving Your Job, recommends reserving an extra day after the conference for reflection. “Too often we rush back into our daily lives, losing both the energy and the value of the new learning we’ve had,” she says. “Instead, think about this extra day as the way to make sure your investment in the conference pays off. . . . Review your goals and reassess where you are and where you want to go.” But Don’t Wait Too Long While you should be mindful of your next step, it’s also smart to take advantage of your heightened motivation before life takes over. Patrice Williams-Lindo, CEO of Career Nomad, a career strategist, recommends blocking one hour the week after to act on your biggest takeaway—the idea that “hit you like a lightning bolt.”  “Capture that insight, then break it down into micro-actions,” she says. “Instead of ‘I need to build my personal brand,’ reframe it into three doable steps, such as ‘update my LinkedIn bio, post one thought leadership piece, reach out to a potential mentor.’” Share What You Learned  One of the best ways to reinforce what you learned and remember how you felt is to share your experience publicly, such as posting on LinkedIn or another social media platform, says Eikenberg.  “Writing about a conference also allows you to show appreciation for key speakers or even the organizers, all who value knowing how their event helped,” she says.  Shanna Hocking, author of One Bold Move a Day: Meaningful Actions Women Can Take to Fulfill Their Leadership and Career Potential, recommends keeping the information fresh by bringing it back to your coworkers.  “Teach what you learned to others, which extends the learning for you and your team,” she says. Measure Your Actions Results build momentum that can fuel excitement, says Pepin. “You won’t always feel the same high you did right after the retreat, and relying on a feeling to sustain is unrealistic,” she says. “Instead, commit to showing up consistently, again and again, because, in the end, discipline and persistence truly elevate your success. Williams-Lindo recommends creating a 90-day challenge. “Real transformation happens in the trenches, not just in the moment,” she explains. “Assign yourself a 90-day implementation goal—whether it’s launching that side hustle, refining your leadership style, or mastering AI tools for work.” Create Environmental Triggers Finally, consider your physical environment, which has a powerful influence on your physiology, says Hogue. To take advantage of this, choose one specific object from the conference and place it in your primary workspace.  “[It] can help you remember the physiological feelings associated with your inspired state,” he says. “Additionally, if there were any specific scents, songs, or sounds associated with the event, these are also a very powerful way to access the associated memories.” Hocking also recommends keeping visual reminders of the retreat or conference nearby. “Display your notes, a quote, or a visual by your desk so your learning and commitment are front of mind,” she says. At the end of the Creative Living retreat, Gilbert asked us to review our notes and circle five sentences or phrases that held the greatest meaning. Then we combined them into a five-line piece of “motivational poetry.” This is now pinned to the bulletin board in my workspace. Sustainable motivation over time comes from working with your body, says Hogue. “By doing so, you can maintain your inspiration long after that latest conference or event has passed,” he says.

South Korea’s Female Free Divers May Have Evolved to Thrive Underwater, Study Finds The Haenyeo, a group of skilled divers on Jeju Island, plunge beneath the ocean’s surface without any breathing equipment, thanks to a combination of their training and genetics Lillian Ali - Staff Contributor May 23, 2025 4:50 p.m. A group of female South Korean free divers on Jeju Island, known as the Haenyeo, exit the water after catching marine snails in November 2015. Chung Sung-Jun / Getty Images On Jeju Island, 50 miles south of the Korean peninsula, senior women regularly dive up to 60 feet beneath the ocean’s surface. They collect sea urchins, sea snails called abalone and other food—and they do it all without breathing equipment. These divers are known as the Haenyeo, or “women of the sea.” Trained from a young age, they plunge into cold ocean water year-round, throughout their lives. “They dive throughout their whole pregnancy,” Diana Aguilar-Gómez, a geneticist at the University of California, Los Angeles, tells NPR’s Ari Daniel. She describes stories of women diving until shortly before giving birth, then returning to the water just days later. Today, however, the practice is dwindling, and the current average age of the Haenyeo is about 70 years old. Many of the divers consider themselves to be the last of their kind. Aguilar-Gómez and her colleagues wanted to know how the Haenyeo built their remarkable underwater resilience—and whether evolution, rather than just training, played a role in their abilities. The scientists found a variety of genetic and adaptive traits among the Haenyeo and published their work this month in the journal Cell Reports. The research team compared 30 Haenyeo divers to 30 older non-diving women on Jeju Island, as well as to 31 older South Korean women from off the island. To keep all participants safe, they decided to conduct only “simulated dives,” where participants hold their breath and submerge their faces in a bowl of cold water. This triggers the mammalian dive reflex: The heart slows down, and the body diverts blood to the most important areas, like the brain. “Your body says, ‘Ok, there’s not a lot of oxygen coming, let’s keep it in the organs that need it the most,’” study co-author Melissa Ann Ilardo, a geneticist at the University of Utah, tells Deutsche Welle’s Matthew Ward Agius. The Haenyeo prepare for a dive. Hans Hillewaert / CC BY-NC-ND 2.0 Comparing the Haenyeo to other women, researchers found that the trained divers’ heart rates fell about 50 percent more than those who weren’t divers. In an extreme case, one Haenyeo woman’s heart rate dropped by 40 beats per minute in just 15 seconds. The lowered heart rate is not genetic, though. Scientists think that any human, if they had the lifetime of training the Haenyeo do, would adapt similarly. “We know that it’s because of training, because it’s something that we only saw in the Haenyeo,” Ilardo tells CNN’s Katie Hunt. To look for genetic differences, researchers took saliva samples from the different groups. They found that women from Jeju, whether or not they were divers, had similar genes. Compared to non-islanders, though, researchers saw two key differences. One has to do with cold tolerance—the Haenyeo are known for diving in frigid conditions, with surface water temperatures during their dives reaching 50 degrees Fahrenheit or colder. Ilardo tells NPR about a time she saw the Haenyeo diving in snowy weather: “They said as long as there’s not a risk that they’re going to be blown away to sea, then they still go out in the water, no matter how cold it is.” The people from Jeju Island were more likely to carry a genetic variant that may make them more resistant to hypothermia—in previous research, it has been linked to the ability to tolerate cold temperatures and pain. Jeju Island, known for its female free divers, seen from above. Robert Simmons / NASA The second difference relates to blood pressure—women from Jeju were more than four times more likely than women not from the island to have a gene variant related to lower blood pressure. Everyone’s blood pressure increases when they dive, Ilardo tells CNN. But Jeju residents’ blood pressure increases less. This resistance to heightened blood pressure could help the Haenyeo dive while pregnant, since high blood pressure can be very dangerous during pregnancy. The Haenyeo’s unique adaptations could hold the key to treating chronic diseases, particularly those related to high blood pressure. Gaining a better understanding of the gene tied to lower blood pressure could help scientists develop medications to protect people who are at risk of stroke or blood pressure complications, the researchers say. Ben Trumble, an anthropologist at Arizona State University who was not involved in the study, tells theWashington Post’s Mark Johnson that this new research could give insight into how to treat cardiovascular disease. “By working with populations like those Dr. Ilardo is working with, who aren’t sedentary office dwellers, we can gain some insights into how natural selection has helped us adapt and survive many problems that humans have faced throughout history,” Trumble says. Get the latest stories in your inbox every weekday.

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:

Clownfish Shrink Down Their Bodies to Survive Ocean Heat Waves, New Study Suggests The adaptation appears to help the fish cope with high temperatures, since individuals and breeding pairs that shrank improved their survival odds Clownfish seem to become shorter during heat waves, according to the new study. Morgan Bennett-Smith A new study reveals that clownfish use a surprising strategy to adapt their bodies to ocean heat waves: They shrink. “[Clownfish] have these amazing abilities that we still don’t know all that much about,” says study co-author Theresa Rueger, a tropical marine ecologist at Newcastle University in England, to the Washington Post’s Dino Grandoni. The findings offer some hope for fish in the face of climate change, she adds. “There’s potential that maybe some other species will adapt in a way that will allow them to hang on longer than we think.” Rueger and her team didn’t initially plan to study a heat wave. They were monitoring how freshwater runoff might affect breeding clownfish in Papua New Guinea’s Kimbe Bay, when temperatures dramatically rose and warmed the water to 7.2 degrees Fahrenheit above average. But these conditions, they realized, offered a key opportunity for research. The scientists measured 134 clownfish in Kimbe Bay every month during the ocean heat wave, which spanned from February to August 2023. Astoundingly, 100 of those fish shrank. The researchers found that 71 percent of the dominant females and 79 percent of the breeding males reduced in size at least once over the study period. Their findings were published in the journal Science Advances on Wednesday. At first, lead author Melissa Versteeg, a PhD researcher at England’s Newcastle University, thought she was making a mistake in her measurements. She kept trying again. And again. “She had several people measuring them at the same time to really make sure that we’re confident with the numbers,” Rueger says to Melissa Hobson at National Geographic. But after these repeated attempts, she concluded the measurements were correct. The fish that shrank increased their chances of surviving the heat wave by 78 percent, according to the study. Some of the clownfish even shrank in pairs, reducing their size alongside their breeding partner—a move that also boosted their chance of survival. The study marks the first time a coral reef-dwelling fish has been documented to shrink in response to environmental and social cues, according to a statement from Newcastle University. A pair of clownfish swims near an anemone. When the studied fish became smaller, females maintained a larger size than males. Morgan Bennett-Smith Clownfish aren’t the only animals shifting their size because of heat. Fish around the world are adapting to warmer temperatures by downsizing their bodies. “This is another tool in the toolbox that fish are going to use to deal with a changing world,” says Simon Thorrold, an ocean ecologist at Woods Hole Oceanographic Institution who was not involved in the new work, to Adithi Ramakrishnan at the Associated Press. But these clownfish stand out from the rest. “Until now, when talking about shrinking fish, nearly all studies do not mean that fish literally shrink but that they grow to smaller sizes,” explains Asta Audzijonyte, a senior lecturer at the University of Tasmania in Australia who was not involved in the work, to the Washington Post. “This study, in contrast, reports observations of [clownfish] actually shrinking by a few percent of their total length over the course of a month.” Previous research has found that other animals, like birds and rodents, appear to have gotten smaller because of climate change. And marine iguanas will shrink in response to warmer water temperatures during El Niño years. The researchers don’t yet know how the clownfish are pulling off their shrinking act. One hypothesis is that the fish are reabsorbing their own bone matter, reports the Associated Press. They’re also not sure why, exactly, changing size is so advantageous to the clownfish. But it could be that a smaller size makes it easier to maintain oxygen levels or get by with less food available. “If you’re small, you obviously need less food, and you’re also more efficient in foraging a lot of the time,” explains Rueger to National Geographic. Still, this adaptation method can only go so far. The heat wave exacerbated coral bleaching, which decreases available reef habitat, and subsequent heat waves ultimately killed many of the fish the researchers studied. “We’ve lost many of those fish,” Rueger says to the Washington Post. Get the latest stories in your inbox every weekday.

Interviews Andor – Season 2: Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer) and Scott Pritchard (ILM VFX Supervisor) By Vincent Frei - 22/05/2025 In 2023, Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer), and Scott Pritchard (ILM VFX Supervisor) offered an in-depth look at the visual effects of Andor’s first season. Now, the trio returns to share insights into their work on the second—and final—season of this critically acclaimed series. Tony Gilroy is known for his detailed approach to storytelling. Can you talk about how your collaboration with him evolved throughout the production of Andor? How does he influence the VFX decisions and the overall tone of the series? Mohen Leo (ML): Our history with Tony, from Rogue One through the first season of Andor, had built a strong foundation of mutual trust. For Season 2, he involved VFX from the earliest story discussions, sharing outlines and inviting our ideas for key sequences. His priority is always to keep the show feeling grounded, ensuring that visual effects serve the story’s core and never become extraneous spectacle that might distract from the narrative. TJ Falls (TJ): Tony is a master storyteller. As Mohen mentioned, we have a great history with Tony from Rogue One and through Season 1 of Andor. We had a great rapport with Tony, and he had implicit trust in us. We began prepping Season 2 while we were in post for Season 1. We were having ongoing conversations with Tony and Production Designer Luke Hull as we were completing work for S1 and planning out how we would progress into Season 2. We wanted to keep the show grounded and gritty while amping up the action and urgency. Tony had a lot of story to cover in 12 episodes. The time jumps between the story arcs were something we discussed early on, and the need to be able to not only justify the time jumps but also to provide the audience with a visual bridge to tell the stories that happened off-screen. Tony would look to us to guide and use our institutional knowledge of Star Wars to help keep him honest within the universe. He, similarly, challenged us to maintain our focus and ensure that the visual tone of the series serviced the story. Tony Gilroy and Genevieve O’Reilly on the set of Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo by Des Willie. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved. As you’ve returned for Season 2, have there been any significant changes or new challenges compared to the first season? How has the production evolved in terms of VFX and storytelling? (ML): The return of nearly all key creatives from Season 1, both internally and at our VFX vendors, was a massive advantage. This continuity built immediate trust and an efficient shorthand. It made everyone comfortable to be more ambitious, allowing us to significantly expand the scope and complexity of the visual effects for Season 2. (TJ): We had all new directors this season. The rest of the core creative and production teams stayed consistent from Season 1. We worked to keep the creative process as seamless from Season 1 as we could while working with the new directors and adapting to their process while incorporating their individual skills and ideas that they brought to the table. This season we were able to work on location much more than on Season 1. That provided us with a great opportunity to build out the connective tissue between real world constraints and the virtual world we were creating. In the case with Senate Plaza in Coruscant we also had to stay consistent with what has previously been established, so that was a fun challenge. How did you go about dividing the workload between the various VFX studios? (ML): I can give an answer, but probably better if TJ does. (TJ): We were very specific about how we divided the work on this series. We started, as we usually do, with a detailed breakdown of work for the 12 episodes. Mohen and I then discussed a logical split based on type of work, specific elements, and areas of commonality for particular environments. While cost is always a consideration, we focused our vendor casting around the creative strengths of the studios we were partnering with on the project. ILM is in the DNA of Star Wars, so we knew we’d want to be working with them on some of the most complex work. We chose ILM for the opening TIE Avenger hangar sequence and subsequent escape. We utilized ILM for work in every episode, including the CG KX/K2 work, but their main focus was on Coruscant, and they had substantial work in the ninth episode for the big Senate escape sequence. Hybride‘s chief focus was on Palmo Plaza and the Ghorman environments. They dealt with everything Ghorman on the ground from the street extensions and the truck crash, through the Ghorman massacre, sharing shots with ILM with the KX work. For Scanline VFX, we identified three primary areas of focus: the work on Mina Rau, Chandrila, and Yavin. The TIE Fighter sequence in Season 2 is a standout moment. Can you walk us through the VFX process for that particular sequence? What were some of the technical challenges you faced, and how did you work to make it as intense and realistic as possible? (TJ): This is a sequence I’m particularly proud of as VFX played a central role in the sequence coming together from start to finish. We were intimately involved from the initial conversations of the idea for the sequence. Mohen created digital storyboards and we pitched ideas for the sequence to Tony Gilroy. Once we had a sense of the creative brief, we started working with Luke Hull (Production Designer) and the art department on the physical hangar set and brought it into previz for virtual scouting. With Jen Kitching (our Previz Supervisor from The Third Floor) we had a virtual camera set up that allowed us to virtually use the camera and lenses we would have on our shoot. We blocked out shots with Ariel Kleiman (Director) and Christophe Nuyens (the DoP). This went back through previz and techviz so we could meticulously chart out our plan for the shoot. Keeping with our ethos of grounding everything in reality, we wanted to use as much of the practical set as possible. We needed to be sure our handoffs between physical and virtual were seamless – Luke Murphy, our SFX Supervisor, worked closely with us in planning elements and practical effects to be used on the day. Over the course of the shoot, we also had the challenge of the flashing red alarm that goes off once the TIE Avenger crashes into the ceiling. We established the look of the red alarm with Christophe and the lighting team, and then needed to work out the timing. For that, we collaborated with editor John Gilroy to ensure we knew precisely when each alarm beat would flash. Once we had all the pieces, we turned the sequence over to Scott Pritchard and ILM to execute the work. Scott Pritchard (SP): This sequence was split between our London and Vancouver studios, with London taking everything inside the hangar, and Vancouver handling the exterior shots after Cassian blasts through the hangar door. We started from a strong foundation thanks to two factors: the amazing hangar set and TIE Avenger prop; and having full sequence previs. The hangar set was built about 2/3 of its overall length (as much as could be built on the soundstage), which our environments team extended, adding the hangar doors at the end and also a view to the exterior environment. Extending the hangar was most of the work in the sequence up until the TIE starts moving, where we switched to our CG TIE. As with Season 1, we used a blend of physical SFX work for the pyro effects, augmenting with CG sparks. As TJ mentioned, the hangar’s red warning lighting was a challenge as it had to pulse in a regular tempo throughout the edit. Only the close-up shots of Cassian in the cockpit had practical red lighting, so complex lighting and comp work were required to achieve a consistent look throughout the sequence. ILM London’s compositing supervisor, Claudio Bassi, pitched the idea that as the TIE hit various sections of the ceiling, it would knock out the ceiling lights, progressively darkening the hangar. It was a great motif that helped heighten the tension as we get towards the moment where Cassian faces the range trooper. Once we cut to outside the hangar, ILM Vancouver took the reins. The exterior weather conditions were briefed to us as ‘polar night’ – it’s never entirely dark, instead there’s a consistent low-level ambient light. This was a challenge as we had to consider the overall tonal range of each shot and make sure there was enough contrast to guide the viewer’s eye to where it needed to be, not just on individual shots but looking at eye-trace as one shot cut to another. A key moment is when Cassian fires rockets into an ice arch, leading to its collapse. The ice could very easily look like rock, so we needed to see the light from the rocket’s explosions scattered inside the ice. It required detailed work in both lighting and comp to get to the right look. Again, as the ice arch starts to collapse and the two chase TIE Advanced ships get taken out, it needed careful balancing work to make sure viewers could read the situation and the action in each shot. The world-building in Andor is impressive, especially with iconic locations like Coruscant and Yavin. How did you approach creating these environments and ensuring they felt as authentic as possible to the Star Wars universe? (ML): Our approach to world-building in Andor relied on a close collaboration between the VFX team and Luke Hull, the production designer, along with his art department. This partnership was established in Season 1 and continued for Season 2. Having worked on many Star Wars projects over the decades, VFX was often able to provide inspiration and references for art department designs. For example, for locations like Yavin and Coruscant, VFX provided the art department with existing 3D assets: the Yavin temple model from Rogue One and the Coruscant city layout around the Senate from the Prequel films. The Coruscant model, in particular, involved some ‘digital archaeology.’ The data was stored on tapes from around 2001 and consisted of NURBS models in an older Softimage file format. To make them usable, we had to acquire old Softimage 2010 and XSI licenses, install them on a Windows 7 PC, and then convert the data to the FBX format that current software can read. Supplying these original layouts to the art department enabled them to create their new designs and integrate our real-world shooting locations while maintaining consistency with the worlds seen in previous Star Wars productions. Given that Andor is set approximately twenty years after the Prequels, we also had the opportunity to update and adjust layouts and designs to reflect that time difference and realize the specific creative vision Luke Hull and Tony Gilroy had for the show. StageCraft technology is a huge part of the production. How did you use it to bring these complex environments, like Coruscant and Yavin, to life? What are the main benefits and limitations of using StageCraft for these settings? (SP): Our use of StageCraft for Season 2 was similar to that on Season 1. We used it to create the exterior views through the windows of the Safehouse on Coruscant. As with our work for the Chandrillan Embassy in Season 1, we created four different times of day/weather conditions. One key difference was that the foreground buildings were much closer to the Safehouse, so we devised three projection points (one for each room of the Safehouse), which would ensure that the perspective of the exterior was correct for each room. On set we retained a large amount of flexibility with our content. We had our own video feed from the unit cameras, and we were able to selectively isolate and grade sections of the city based on their view through the camera. Working in context like this meant that we could make any final tweaks while each shot was being set up and rehearsed. While we were shooting a scene set at night, the lighting team rigged a series of lights running above the windows that, when triggered, would flash in sequence, casting a moving light along the floor and walls of the set, as if from a moving car above. I thought we could use the LED wall to do something similar from below, catching highlights on the metal pipework that ran across the ceiling. During a break in shooting, I hatched a plan with colour operator Melissa Goddard, brain bar supervisor Ben Brown, and we came up with a moving rectangular section on the LED wall which matched the practical lights for speed, intensity and colour temperature. We set up two buttons on our iPad to trigger the ‘light’ to move in either direction. We demoed the idea to the DP after lunch, who loved it, and so when it came to shoot, he could either call from a car above from the practical lights, or a car below from the LEDs. (ML): Just to clarify – the Coruscant Safehouse set was the only application of Stagecraft LED screens in Season 2. All other Coruscant scenes relied on urban location photography or stage sets with traditional blue screen extensions. The various Yavin locations were achieved primarily with large backlot sets at Longcross Studios. A huge set of the airfield, temple entrance and partial temple interior was extended by Scanline VFX, led by Sue Rowe, in post, creating the iconic temple exterior from A New Hope. VFX also added flying and parked spaceships, and augmented the surrounding forest to feel more tropical. Andor blends CG with actual real-world locations. Can you share how you balanced these two elements, especially when creating large-scale environments or specific landscapes that felt grounded in reality? (SP): A great example of this is the environment around the Senate. The plates for this were shot in the City of Arts & Sciences in Valencia. Blending the distinctive Calatrava architecture with well-known Star Wars buildings like the Senate was an amazing challenge, it wasn’t immediately clear how the two could sit alongside each other. Our Vancouver team, led by Tania Richard, did an incredible job taking motifs and details from the Valencia buildings and incorporating them into the Senate building on both large and small scales, but still contiguous with the overall Senate design. The production team was ingenious in how they used each of the Valencia buildings to represent many locations around the Senate and the surrounding areas. For example, the Science Museum was used for the walkway where Cassian shoots Kloris (Mon’s driver), the main entrance to the Senate, and the interior of the Senate Atrium (where Ghorman Senator Oran is arrested). It was a major challenge ensuring that all those locations were represented across the larger environment, so viewers understood the geography of the scene, but also blended with the design language of their immediate surroundings. Everything in the Senate Plaza had a purpose. When laying out the overall layout of the Plaza, we considered aspects such as how far Senators would realistically walk from their transports to the Senate entrance. When extending the Plaza beyond the extents of the City of Arts & Sciences, we used Calatrava architecture from elsewhere. The bridge just in front of the Senatorial Office Building is based on a Calatrava-designed bridge in my home city of Dublin. As we reach the furthest extents of the Senate Plaza, we begin blending in more traditional Coruscant architecture so as to soften the transition to the far background. Coruscant is such a pivotal location in Star Wars. How did you approach creating such a vast, densely populated urban environment? What were the key visual cues that made it feel alive and realistic? (ML): Our approach to Coruscant in Season 2 built upon what we established in the first season: primarily, shooting in real-world city locations whenever feasible. The stunning Calatrava architecture at Valencia’s City of Arts and Sciences, for instance, served as the foundation for the Senate exterior and other affluent districts. For the city’s grittier neighborhoods, we filmed in urban environments in London, like the Barbican and areas around Twickenham Stadium. Filming in these actual city locations provided a strong, realistic basis for the cinematography, lighting, and overall mood of each environment. This remained true even when VFX later modified large portions of the frame with Star Wars architecture. This methodology gave the director and DP confidence on set that their vision would carry through to the final shot. Our art department and VFX concept artists then created numerous paintovers based on plates and location photography, offering clear visual guides for transforming each real location into its Coruscant counterpart during post-production. For the broader cityscapes, we took direct inspiration from 3D street maps of cities such as Tokyo, New York, and Hong Kong. We would exaggerate the scale and replace existing buildings with our Coruscant designs while preserving the fundamental urban patterns. When it comes to creating environments like Yavin, which has a very natural, jungle-like aesthetic, how do you ensure the VFX stays true to the organic feel of the location while still maintaining the science-fiction elements of Star Wars? (ML): Nearly all of the Yavin jungle scenes were shot in a large wooded area that is part of Longcross Studios. The greens and art departments did an amazing job augmenting the natural forest with tropical plants and vines. The scenes featuring the two rebel factions in the clearing were captured almost entirely in-camera, with VFX primarily adding blaster fire, augmenting the crashed ship, and painting out equipment. Only the shots of the TIE Avenger landing and taking off, as well as the giant creature snatching the two rebels, featured significant CG elements. The key elements connecting these practical locations back to the Yavin established in A New Hope and Rogue One were the iconic temples. The establishing shots approaching the main temple in episode 7 utilized plate photography from South America, which had been shot for another Disney project but ultimately not used. Other aerial shots, such as the U-Wing flying above the jungle in episode 12, were fully computer-generated by ILM. K-2SO is a beloved character, and his return is highly anticipated. What can you tell us about the process of bringing him back to life with VFX in Season 2? What new challenges did this bring compared to his original appearance? (SP): We had already updated a regular KX droid for the scene on Niamos in Season 1, so much of the work to update the asset to the latest pipeline requirements had already been done. We now needed to switch over to the textures & shaders specific to K2, and give them the same updates. Unique to Series 2 was that there were a number of scenes involving both a practical and a digital K2 – when he gets crushed on Ghorman in episode 8, and then ‘rebooted’ on Yavin in episode 9. The practical props were a lot more beaten up than our hero asset, so we made bespoke variants to match the practical droid in each sequence. Additionally, for the reboot sequence on Yavin, we realised pretty quickly that the extreme movements meant that we were seeing into areas that previously had not required much detail – for instance, underneath his shoulder armour. We came up with a shoulder joint design that allowed for the required movement while also staying mechanically correct. When we next see him in Episode 10, a year has passed, and he is now the K-2SO as we know him from Rogue One. K-2SO has a unique design, particularly in his facial expressions and movement. How did you approach animating him for Season 2, and were there any specific changes or updates made to his character model or animation? (SP): Following Rogue One, Mohen made detailed records of the takeaways learned from creating K-2SO, and he kindly shared these notes with us early on in the show. They were incredibly helpful in tuning the fine details of the animation. Our animation team, led by Mathieu Vig, did a superb job of identifying the nuances of Alan’s performance and making sure they came across. There were plenty of pitfalls to avoid – for instance, the curve to his upper back meant that it was very easy for his neck to look hyperextended. We also had to be very careful with his eyes, as they’re sources of light, they could very easily look cartoonish if they moved around too much. Dialling in just the right amount of eye movement was crucial to a good performance. As the eyes also had several separate emissive and reflective components, they required delicate balancing in the comp on a per-shot basis. Luckily, we had great reference from Rogue One to be able to dial in the eyes to suit both the lighting of a shot but also its performance details. One Rogue One shot in particular, where he says ‘Your behavior, Jyn Erso, is continually unexpected’, was a particularly good reference for how we could balance the lights in his eyes to, in effect, enlarge his pupils, and give him a softer expression. K-2SO also represented my first opportunity to work with ILM’s new studio in Mumbai. Amongst other shots, they took on the ‘hallway fight’ sequence in Episode 12 where K2 dispatches Heert and his troopers, and they did a fantastic job from animation right through to final comp. K-2SO’s interactions with the live-action actors are key to his character. How did you work with the actors to ensure his presence felt as real and integrated as possible on screen, especially in terms of timing and reactions? (ML): Alan Tudyk truly defined K-2SO in Rogue One, so his return for Andor Season 2 was absolutely critical to us. He was on set for every one of K2’s shots, performing on stilts and in a performance capture suit. This approach was vital because it gave Alan complete ownership of the character’s physical performance and, crucially, allowed for spontaneous, genuine interactions with the other actors, particularly Diego Luna. Witnessing Alan and Diego reunite on camera was fantastic; that unique chemistry and humor we loved in Rogue One was instantly palpable. In post-production, our VFX animators then meticulously translated every nuance of Alan’s on-set performance to the digital K-2SO model. It’s a detailed process that still requires artistic expertise. For instance, K2’s facial structure is largely static, so direct translation of Alan’s facial expressions isn’t always possible. In these cases, our animators found creative solutions – translating a specific facial cue from Alan into a subtle head tilt or a particular eye movement for K2, always ensuring the final animation remained true to the intent and spirit of Alan’s original performance. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? (ML): The Plaza sequence in episode 8, which runs for about 23 minutes, stands out as particularly memorable – both for its challenges and its rewarding outcome. Just preparing for it was a daunting task. Its successful execution hinged on incredibly tight collaboration between numerous departments: stunts, creature effects, special effects, the camera department, our tireless greenscreens crew, and of course, VFX. The stunts team, under Marc Mailley, drove the choreography of all the action. Our On-Set VFX Supervisor, Marcus Dryden, was instrumental. He worked hand-in-glove with the director, DP, and assistant directors to ensure we meticulously captured all the necessary elements. This included everything from crowd replication plates and practical effects elements to the performances of stunt teams and creature actors, plus all the crucial on-set data. The shoot for this sequence alone took over three weeks. Hybride, under the leadership of Joseph Kasparian and Olivier Beaulieu, then completed the environments, added the blaster fire, and augmented the special effects in post-production, with ILM contributing the KX droids that wreak havoc in the plaza. (SP): I agree with Mohen here, for me the Ghorman Plaza episode is the most rewarding to have worked on. It required us to weave our work into that of so many other departments – stunts, sfx, costume – to name just a few. When we received the plates, to see the quality of the work that had gone into the photography alone was inspirational for me and the ILM crew. It’s gratifying to be part of a team where you know that everyone involved is on top of their game. And of course all that is underpinned by writing of that calibre from Tony Gilroy and his team – it just draws everything together. From a pure design viewpoint, I’m also very proud of the work that Tania Richard and her ILM Vancouver crew did for the Senate shots. As I mentioned before, it was a hugely challenging environment not just logistically, but also in bringing together two very distinctive architectural languages, and they made them work in tandem beautifully. Looking back on the project, what aspects of the visual effects are you most proud of? (TJ): I’m incredibly proud of this entire season. The seamless collaboration we had between Visual Effects and every other department made the work, while challenging, an absolute joy to execute. Almost all of the department heads returned from the first season, which provided a shorthand shortcut as we started the show with implicit trust and understanding of what we were looking to achieve. The work is beautiful, and the commitment of our crew and vendors has been unwavering. I’m most proud of the effort and care that each individual person contributed to the show and the fact that we went into the project with a common goal and were, as a team, able to showcase the vision that we, and Tony, had for the series. (ML): I’m really proud of the deep integration of the visual effects – not just visually, but fundamentally within the filmmaking process and storytelling. Tony invited VFX to be a key participant in shaping the story, from early story drafts through to the final color grade. Despite the scale and spectacle of many sequences, the VFX always feel purposeful, supporting the narrative and characters rather than distracting from them. This was significantly bolstered by the return of a large number of key creatives from Season 1, both within the production and at our VFX vendors. That shared experience and established understanding of Tony’s vision for Andor were invaluable in making the VFX an organic part of the show. (SP): I could not be prouder of the entire ILM team for everything they brought to their work on the show. Working across three sites, Andor was a truly global effort, and I particularly enjoyed how each site took complete ownership of their work. It was a privilege working with all of them and contributing to such an exceptional series. VFX progression frame Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved. How long have you worked on this show? (TJ): This show has been an unbelievable journey. Season 2 alone was nearly 3 years. We wrapped Season 2 in January of 2025. We started prepping Season 2 in February 2022, while we were still in post for Season 1. I officially started working on Season 1 early in 2019 while it was still being developed. So that’s 6 years of time working on Andor. Mohen and I both also worked on Rogue One, so if you factor in the movie, which was shooting in 2015, that’s nearly ten years of work within this part of the Star Wars universe. (ML): I started on the project during early development in the summer of 2019 and finished in December of 2024. (SP): I started on Season 1 in September 2020 and finished up on Season 2 in December 2024. What’s the VFX shots count? (TJ): We had a grand total of 4,124 shots over the course of our 12 episodes. Outside of Industrial Light & Magic, which oversaw the show, we also partnered with Hybride, Scanline, Soho VFX, and Midas VFX. What is your next project? (TJ): You’ll have to wait and see! (SP): Unfortunately, I can’t say just yet either! A big thanks for your time. WANT TO KNOW MORE?ILM: Dedicated page about Andor – Season 2 on ILM website. © Vincent Frei – The Art of VFX – 2025

This is today's edition of The Download, our weekday newsletter that provides a daily dose of what's going on in the world of technology. The data center boom in the desert In the high desert east of Reno, Nevada, construction crews are flattening the golden foothills of the Virginia Range, laying the foundations of a data center city. Google, Tract, Switch, EdgeCore, Novva, Vantage, and PowerHouse are all operating, building, or expanding huge facilities nearby. Meanwhile, Microsoft has acquired more than 225 acres of undeveloped property, and Apple is expanding its existing data center just across the Truckee River from the industrial park.The corporate race to amass computing resources to train and run artificial intelligence models and store information in the cloud has sparked a data center boom in the desert—and it’s just far enough away from Nevada’s communities to elude wide notice and, some fear, adequate scrutiny. Read the full story. —James Temple This story is part of Power Hungry: AI and our energy future—our new series shining a light on the energy demands and carbon costs of the artificial intelligence revolution. Check out the rest of the package here. A new atomic clock in space could help us measure elevations on Earth In 2003, engineers from Germany and Switzerland began building a bridge across the Rhine River simultaneously from both sides. Months into construction, they found that the two sides did not meet. The German side hovered 54 centimeters above the Swiss one. The misalignment happened because they measured elevation from sea level differently. To prevent such costly construction errors, in 2015 scientists in the International Association of Geodesy voted to adopt the International Height Reference Frame, or IHRF, a worldwide standard for elevation. Now, a decade after its adoption, scientists are looking to update the standard—by using the most precise clock ever to fly in space. Read the full story. —Sophia Chen Three takeaways about AI’s energy use and climate impacts —Casey Crownhart This week, we published Power Hungry, a package all about AI and energy. At the center of this package is the most comprehensive look yet at AI’s growing power demand, if I do say so myself. This data-heavy story is the result of over six months of reporting by me and my colleague James O’Donnell (and the work of many others on our team). Over that time, with the help of leading researchers, we quantified the energy and emissions impacts of individual queries to AI models and tallied what it all adds up to, both right now and for the years ahead. There’s a lot of data to dig through, and I hope you’ll take the time to explore the whole story. But in the meantime, here are three of my biggest takeaways from working on this project. Read the full story.This article is from The Spark, MIT Technology Review’s weekly climate newsletter. To receive it in your inbox every Wednesday, sign up here. MIT Technology Review Narrated: Congress used to evaluate emerging technologies. Let’s do it again. Artificial intelligence comes with a shimmer and a sheen of magical thinking. And if we’re not careful, politicians, employers, and other decision-makers may accept at face value the idea that machines can and should replace human judgment and discretion. One way to combat that might be resurrecting the Office of Technology Assessment, a Congressional think tank that detected lies and tested tech until it was shuttered in 1995. This is our latest story to be turned into a MIT Technology Review Narrated podcast, which we’re publishing each week on Spotify and Apple Podcasts. Just navigate to MIT Technology Review Narrated on either platform, and follow us to get all our new content as it’s released. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 OpenAI is buying Jony Ive’s AI startup The former Apple design guru will work with Sam Altman to design an entirely new range of devices. (NYT $)+ The deal is worth a whopping $6.5 billion. (Bloomberg $)+ Altman gave OpenAI staff a preview of its AI ‘companion’ devices. (WSJ $)+ AI products to date have failed to set the world alight. (The Atlantic $)2 Microsoft has blocked employee emails containing ‘Gaza’ or ‘Palestine’ Although the term ‘Israel’ does not trigger such a block. (The Verge)+ Protest group No Azure for Apartheid has accused the company of censorship. (Fortune $) 3 DOGE needs to do its work in secret That’s what the Trump administration is claiming to the Supreme Court, at least. (Ars Technica)+ It’s trying to avoid being forced to hand over internal documents. (NYT $)+ DOGE’s tech takeover threatens the safety and stability of our critical data. (MIT Technology Review)4 US banks are racing to embrace cryptocurrency Ahead of new stablecoin legislation. (The Information $)+ Attendees at Trump’s crypto dinner paid over $1 million for the privilege. (NBC News)+ Bitcoin has surged to an all-time peak yet again. (Reuters)5 China is making huge technological leaps Thanks to the billions it’s poured into narrowing the gap between it and the US. (WSJ $)+ Nvidia’s CEO has branded America’s chip curbs on China ‘a failure.’ (FT $)+ There can be no winners in a US-China AI arms race. (MIT Technology Review)6 Disordered eating content is rife on TikTokBut a pocket of creators are dedicated to debunking the worst of it. (Wired $) 7 The US military is interested in the world’s largest aircraftThe gigantic WindRunner plane will have an 80-metre wingspan. (New Scientist $) + Phase two of military AI has arrived. (MIT Technology Review)8 How AI is shaking up animationNew tools are slashing the costs of creating episodes by up to 90%. (NYT $) + Generative AI is reshaping South Korea’s webcomics industry. (MIT Technology Review)9 Tesla’s Cybertruck is a flop Sorry, Elon. (Fast Company $)+ The vehicles’ resale value is plummeting. (The Daily Beast)10 Google’s new AI video generator loves this terrible joke Which appears to originate from a Reddit post. (404 Media)+ What happened when 20 comedians got AI to write their routines. (MIT Technology Review) Quote of the day “It feels like we are marching off a cliff.” —An unnamed software engineering vice president jokes that future developers conferences will be attended by the AI agents companies like Microsoft are racing to deploy, Semafor reports. One more thing What does GPT-3 “know” about me?One of the biggest stories in tech is the rise of large language models that produce text that reads like a human might have written it. These models’ power comes from being trained on troves of publicly available human-created text hoovered up from the internet. If you’ve posted anything even remotely personal in English on the internet, chances are your data might be part of some of the world’s most popular LLMs.Melissa Heikkilä, MIT Technology Review’s former AI reporter, wondered what data these models might have on her—and how it could be misused. So she put OpenAI’s GPT-3 to the test. Read about what she found.We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet 'em at me.) + Don’t shoot the messenger, but it seems like there’s a new pizza king in town 🍕 ($)+ Ranked: every Final Destination film, from worst to best.+ Who knew that jelly could help to preserve coral reefs? Not I.+ A new generation of space archaeologists are beavering away to document our journeys to the stars.

A human can’t shrink away from the threats of climate change. A clownfish, however, can. In a new paper published today in Science Advances, a team of researchers revealed that these tiny “Finding Nemo” fish can actually shrink to survive heat stress, allowing them to overcome the threat of heatwaves.“We were so surprised to see shrinking in these fish,” said Melissa Versteeg, a study author and a Ph.D. student at Newcastle University in the U.K., according to a press release. “In the end, we discovered it was very common in this population.”Clownfish Shrink in SizeA clown anemonefish. (Image Credit: Morgan Bennett-Smith)Climate change has transformed terrestrial and marine habitats and continues to transform them, with heatwaves — or periods of abnormal warmth — having one of the most significant impacts on animals. Studies show, for example, that increasing temperatures have a strong influence on the dimensions of terrestrial and marine species, shaping their size and size variability and contributing to their overall reduction in size over time.But what, exactly, is the effect of marine heatwaves on the clownfish, also known as the clown anemonefish (Amphiprion percula)?Setting out to study how heatwaves transform these fish over time, Versteeg and a team of researchers turned to the wild clownfish population in Kimbe Bay in Papua New Guinea, where heatwaves caused temperatures to sit around 4 degrees Celcius above average over the course of the study. Measuring the water temperatures and the size of the clownfish there from February 2023 to August 2023, the team found that individual clownfish shrank over time.“We measured each fish individual repeatedly over a period of five months,” Versteeg said in the release. “During our study, 100 fish shrank out of the 134 fish that we studied.” Rather than getting slimmer, these clownfish shrank by getting shorter, with the degree of their reduction depending on the individual’s initial size and social rank. According to the researchers, the results reveal that clownfish reduce their size in response to heat stress, which, in turn, increases their chances of surviving a heatwave by 78 percent.Read More: How Volunteers Are Helping Keep Coral Reefs AliveClownfish Survival ImprovesAccording to the researchers, some clownfish shrank one time, and some clownfish shrank multiple times, with all of the fish that shrank multiple times surviving throughout the course of the study. Intriguingly, the chances of clownfish survival were also improved if a clownfish shrank alongside its breeding partner. “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.” Versteeg said in the release. “It was a surprise to see how rapidly clownfish can adapt to a changing environment.”Similar shrinking abilities are seen in other animals, including marine iguanas. And while clownfish are the first coral reef fish that researchers have shown to shorten in response to heat stress, they may not be the last. In fact, the results could have implications for other coral reef fish, and for other fish overall. According to the researchers, fish on the whole are much smaller today than they once were. A 2023 study in Science found, for instance, that fish, in particular, are driving a decrease in size in the world’s animal populations. One possible explanation for this is that smaller species of fish are surviving over larger species of fish. Another is that fish species of all sizes are shrinking over time, with the smaller individuals of each species surviving (and thus procreating) more than the larger individuals of each species. It is possible, however, that there are other factors contributing to the smaller size of fish today, too, including the ability to shrink in size in times of stress. “If individual shrinking were widespread and happening among different species of fish, it could provide a plausible alternative hypothesis for why the size many fish species is declining,” said Theresa Rueger, the senior study author and a lecturer at Newcastle University, according to the press release. “Further studies are needed in this area.”Though the fish themselves are small and becoming smaller, the researchers say that their results raise big questions about animal size and about animal shrinking, more specifically. “We don’t know yet exactly how they do it,” Versteeg said. “But we do know that a few other animals can do this too.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:Sam Walters is a journalist covering archaeology, paleontology, ecology, and evolution for Discover, along with an assortment of other topics. Before joining the Discover team as an assistant editor in 2022, Sam studied journalism at Northwestern University in Evanston, Illinois.

shrinking Nemo Incredible shrinking clownfish beats the heat Shrinking down to size boosted clownfish survival rates up to 78 percent during heat waves. Jennifer Ouellette – May 21, 2025 2:00 pm | 7 Credit: Morgan Bennett-Smith Credit: Morgan Bennett-Smith Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Pixar's Finding Nemo immortalized the colorful clownfish, with its distinctive orange body and white stripes, in the popular imagination. Clownfish, like many other species, are feeling the stress of rising temperatures and other environmental stressors. Fortunately, they have a superpower to cope: They can shrink their body size during dangerous heat waves to substantially boost their odds of survival, according to a new paper published in the journal Science Advances. “This is not just about getting skinnier under stressful conditions; these fish are actually getting shorter," said co-author Melissa Versteeg, a graduate student at Newcastle University. "We don’t know yet exactly how they do it, but we do know that a few other animals can do this too." Many vertebrates have shown growth decline in response to environmental stressors, especially higher temperatures. Marine iguanas, for example, reabsorb some of their bone material to shrink when their watery habitat gets warmer, while young salmon have been known to shrink at winter's onset. This can also happen when there is less food available. And social factors can also influence growth. When female meerkats, for example, are dominant, they have growth spurts, while a disruption in their social status can cause stunted growth in male cichlids What has been lacking in prior research is an investigation into how environmental and social factors interact to influence growth rates, according to Versteeg et al. They thought clownfish were the best species to study to fill that gap, since they've been extensively studied and are well understood. The fish live on Indo-Pacific coral reefs where heat stress has been increasing and has become more severe—an environment that is close to the thermal tolerance limits of clownfish. Clownfish also live in social groups: They form breeding pairs with a dominant female and subdominant male, sometimes adding subordinate non-breeding fish. The dominants tend to grow to match the size of the host anemone, while the subordinates only grow to a size that ensures there are sufficient resources—otherwise they risk being evicted and likely dying. Let’s get small The team observed 67 breeding pairs of wild clownfish—briefly caught and photographed for distinctive markings and measured before being returned to the water—living on single anemones in Kimbe Bay, Papua New Guinea, between February and August 2023. This happened to coincide with the world's fourth global bleaching event. They measured the body size of the fish once a month and measured the temperature around the individual anemones every four to six days. Then the team analyzed the collected data. "Individual fish can shrink in response to heat stress." Credit: Morgan Bennett-Smith The results: Over the course of those months, 101 of the 134 clownfish shrank at least once in response to heat stress, and doing so boosted their likelihood of survival up to 78 percent compared to the 33 fish that did not shrink. And between breeding pairs, there were distinctive growth ratios between the dominant and subordinate fish; those pairs that shrank together were also more likely to survive the heat waves. “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 Versteeg. "In the end, we discovered it was very common in this population. It was a surprise to see how rapidly clownfish can adapt to a changing environment, and 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.” Versteeg et al. have not yet identified a possible mechanism for the shrinkage, but suggest the triggering of neuroendocrine pathways via thyroid hormones might play a role, since those hormones regulate growth. The adaptive strategy could also be a means of adjusting to changing metabolic needs. But there are trade-offs: While shrinking in response to heat waves ensures greater survivability, there can also be a corresponding decrease in birth rates. "Our findings show that individual fish can shrink in response to heat stress, which is further impacted by social conflict, and that shrinking can lead to improving their chances of survival," said senior author Theresa Rueger, also of Newcastle University. "If individual shrinking were widespread and happening among different species of fish, it could provide a plausible alternative hypothesis for why the size of many fish species is declining, and further studies are needed in this area.” Science Advances, 2025. DOI: 10.1126/sciadv.adt7079  (About DOIs). Jennifer Ouellette Senior Writer Jennifer Ouellette Senior Writer Jennifer is a senior writer at Ars Technica with a particular focus on where science meets culture, covering everything from physics and related interdisciplinary topics to her favorite films and TV series. Jennifer lives in Baltimore with her spouse, physicist Sean M. Carroll, and their two cats, Ariel and Caliban. 7 Comments