Graduate Student Develops an A.I.-Based Approach to Restore Time-Damaged Artwork to Its Former Glory The method could help bring countless old paintings, currently stored in the back rooms of galleries with limited conservation budgets, to light Scans of the painting retouched with a new technique during various stages in the process. On the right is the restored painting with the applied laminate mask. Courtesy of the researchers via MIT In a contest for jobs requiring the most patience, art restoration might take first place. Traditionally, conservators restore paintings by recreating the artwork’s exact colors to fill in the damage, one spot at a time. Even with the help of X-ray imaging and pigment analyses, several parts of the expensive process, such as the cleaning and retouching, are done by hand, as noted by Artnet’s Jo Lawson-Tancred. Now, a mechanical engineering graduate student at MIT has developed an artificial intelligence-based approach that can achieve a faithful restoration in just hours—instead of months of work. In a paper published Wednesday in the journal Nature, Alex Kachkine describes a new method that applies digital restorations to paintings by placing a thin film on top. If the approach becomes widespread, it could make art restoration more accessible and help bring countless damaged paintings, currently stored in the back rooms of galleries with limited conservation budgets, back to light. The new technique “is a restoration process that saves a lot of time and money, while also being reversible, which some people feel is really important to preserving the underlying character of a piece,” Kachkine tells Nature’s Amanda Heidt. Meet the engineer who invented an AI-powered way to restore art Watch on While filling in damaged areas of a painting would seem like a logical solution to many people, direct retouching raises ethical concerns for modern conservators. That’s because an artwork’s damage is part of its history, and retouching might detract from the painter’s original vision. “For example, instead of removing flaking paint and retouching the painting, a conservator might try to fix the loose paint particles to their original places,” writes Hartmut Kutzke, a chemist at the University of Oslo’s Museum of Cultural History, for Nature News and Views. If retouching is absolutely necessary, he adds, it should be reversible. As such, some institutions have started restoring artwork virtually and presenting the restoration next to the untouched, physical version. Many art lovers might argue, however, that a digital restoration printed out or displayed on a screen doesn’t quite compare to seeing the original painting in its full glory. That’s where Kachkine, who is also an art collector and amateur conservator, comes in. The MIT student has developed a way to apply digital restorations onto a damaged painting. In short, the approach involves using pre-existing A.I. tools to create a digital version of what the freshly painted artwork would have looked like. Based on this reconstruction, Kachkine’s new software assembles a map of the retouches, and their exact colors, necessary to fill the gaps present in the painting today. The map is then printed onto two layers of thin, transparent polymer film—one with colored retouches and one with the same pattern in white—that attach to the painting with conventional varnish. This “mask” aligns the retouches with the gaps while leaving the rest of the artwork visible. “In order to fully reproduce color, you need both white and color ink to get the full spectrum,” Kachkine explains in an MIT statement. “If those two layers are misaligned, that’s very easy to see. So, I also developed a few computational tools, based on what we know of human color perception, to determine how small of a region we can practically align and restore.” The method’s magic lies in the fact that the mask is removable, and the digital file provides a record of the modifications for future conservators to study. Kachkine demonstrated the approach on a 15th-century oil painting in dire need of restoration, by a Dutch artist whose name is now unknown. The retouches were generated by matching the surrounding color, replicating similar patterns visible elsewhere in the painting or copying the artist’s style in other paintings, per Nature News and Views. Overall, the painting’s 5,612 damaged regions were filled with 57,314 different colors in 3.5 hours—66 hours faster than traditional methods would have likely taken. Overview of Physically-Applied Digital Restoration Watch on “It followed years of effort to try to get the method working,” Kachkine tells the Guardian’s Ian Sample. “There was a fair bit of relief that finally this method was able to reconstruct and stitch together the surviving parts of the painting.” The new process still poses ethical considerations, such as whether the applied film disrupts the viewing experience or whether A.I.-generated corrections to the painting are accurate. Additionally, Kutzke writes for Nature News and Views that the effect of the varnish on the painting should be studied more deeply. Still, Kachkine says this technique could help address the large number of damaged artworks that live in storage rooms. “This approach grants greatly increased foresight and flexibility to conservators,” per the study, “enabling the restoration of countless damaged paintings deemed unworthy of high conservation budgets.” Get the latest stories in your inbox every weekday.

Here's what we looked at this week:Objets d'esign: Lexon is releasing speaker and lamp versions of Jeff Koons' Balloon Dog sculpture. Volvo's new Multi-Adaptive Safety Belt compensates for different sizes, shapes and crash severities.Dometic's designey coolers use a different manufacturing method. Wandercraft's Eve, the world's first self-balancing exoskeleton, allows people to walk again.U.C. Berkeley's tiny pogo robot has a unique locomotion style.BARE designs a better—and less expensive—Dutch oven featuring a host of UX improvements.Clever materials use: How to clear standing water on a flat roof using rope.Architecture that works with challenging terrain, not against it: The Zig-Zag Resort, by JA Joubert and UNS Architects.Industrial design firm APE creates the Echo Pro, a perfect-fitting bike helmet with a novel adjustment mechanism.The Splay Max: A folding portable 35" monitor.Industrial Design student work: Dashiell Schaeffer's Curvesse rocking chair, made from a single sheet of plywood.These unusual, "anti-ligature" doorknobs are designed with a grim functional purpose.Designey tool kits: A trend with legs.BareBag's unusual design approach: Bags that serve as hanging points for other bags.From Germany, the NOHRD SlimBeam is a handcrafted, attractive piece of home exercise equipment.Why America's streetlights have been turning purple.When industrial design is subject to aftermarket modifications: BoxPlates to undo the PlayStation 5's look.This ShowerClear design fixes the mold problem all showerheads have.Industrial design case study: Curve ID tackles industrial kitchen equipment for JAVAR.

The Crush 80 Reboot Lite is a mechanical keyboard with muted RGB and customization options, albeit without Mac-specific keycaps.Wobkey Crush 80 Reboot LiteThe mechanical keyboard marketplace offers a lot of choices for consumers in terms of specifications and colors. In most cases, what's on offer from the manufacturer is a pretty adequate keyboard in its own right, but it could be better with some tweaks.Most of the time, there's the opportunity to tinker for those brave enough to do it. Those who do can apply modifications to change how the keyboard types, far beyond simply changing the keycaps or the switches. Continue Reading on AppleInsider | Discuss on our Forums

We may earn a commission from links on this page.Purchasing a full set of individual dumbbell pairs between five and 60 pounds can cost well over $1,500, not to mention how much space you'd have to dedicate to storing them. That's why I'm a huge fan of adjustable dumbbells like the REP QuickDraws or Nüobells, which I reviewed here and here, respectively. If you know you want to be able to up to 60 pounds at five-pound increments, effectively combining 30 weights into one compact set, then adjustables like the REP QuickDraws are how you can save significant money and space in your home gym equipment setup. But let's say your strength progresses beyond your adjustable dumbbells' capacity. First of all: Nice work. Secondly: What do you do now? I've seen users on Reddit directly asking "what's stopping me from adding more plates to keep going heavier?" Adding extra weight plates seems like a logical solution, as opposed to spending all that money on an entirely new set for just a few pounds beyond the recommended capacity. So, let's take a look at what is stopping you—and what's not. Here's what you should know about using add-on weights to your adjustable dumbbells, from what is officially considered unsafe to why it gets impractical even aside from that. How to add weight to your adjustable dumbbellsFirst off, not all adjustable dumbbells allow for this type of modification. Selector pin systems (like PowerBlocks) generally don't allow for unofficial weight additions due to their enclosed design. Dial systems (like my favorite, the Nüobells) have security features specifically preventing modifications outside the cradle. Then you have spin-lock dumbbells, like the QuickDraws, which allow for customization and additional weight outside the cradle. For this reason, I'll be speaking to the REP QuickDraws specifically, as opposed to Nüobells or Powerblocks.Still, adding weight beyond the manufacturer's specifications will almost certainly void your warranty. REP Fitness designed these dumbbells for specific weight ranges and cannot guarantee safety beyond those limits. I spoke with a REP representative (REP-resentative?) who informed me, "internal testing was not conducted beyond the 60 pound maximum, so REP cannot guarantee the safety of additional weight beyond that."Outside of your warranty, there are safety concerns. The handles, locking mechanisms, and materials are engineered for specific maximum loads. Exceeding these limits risks equipment failure and potential injury. Even if the dumbbells can technically handle the additional plates, the result might be bulky and awkward, affecting your form and increasing injury risk.All that being said, it still is entirely feasible to bend the rules and take your 60-pound dumbbells up to 70 pounds. Assuming you play it safe and only add a few plates to each side, here's what you should know:Only add compatible plates: The QuickDraw system uses standard plate dimensions that can be supplemented with additional compatible plates.Manual addition required: You'll need to add these plates manually outside the cradle system, as the selection mechanism only works within the advertised weight range. This pretty much negates the whole "quick draw" appeal.Secure them properly: Ensure the additional plates are secured with the locking mechanism to prevent dangerous slippage during exercises.Manual tracking required: The dial indicator becomes inaccurate once you exceed the designed range. You'll need to manually calculate and track the added weight.Can you (and should you) add more weight to REP QuickDraw Dumbbells?The short answer: Yes, technically you can add additional weight plates to REP QuickDraw dumbbells beyond their advertised maximum. The long answer: Just because something is possible doesn't mean you should make a habit of it. Sure, it's fully above-board to order add-on weights in five-pound increments (which, side-note, I love so much more than a 10-pound jump). However, going beyond 60 pounds isn't sanctioned by REP. For this reason, I naturally had my boyfriend test my DIY super-QuickDraws creation. In the image below, you can see how I manually added weights outside of the cradle. With the spin-locks, you can keep adding weights outside the cradle without any resistance. Just slide the weights on and flip the lock switch.I snapped a picture of it in its lopsided form, so you can see just how far outside the cradle the five-pound add-ons will go—and how precarious it starts to look right off the bat. Behold, my DIY super-QuickDraws creation. Credit: Meredith Dietz As we steadily increased the weight from 65, to 70, to 85 pounds, he noted growing concerns with how much the dumbbells could handle while still feeling safe. The all-steel design gives these guys a premium feel during standard use. But when you go beyond the sanctioned weight capacity, there's a sense that the dumbbells wouldn't bend or snag, but simply snap. And again, you'll need to manually keep track of how much weight you're adding, since the individual plates are not labeled, and you're exceeding the labels of the cradle. That mental math might not be a deterrent for you, but it's something to note.The bottom lineIn most cases, the hassle and safety concerns outweigh the benefits. The primary advantage of the QuickDraws—quick, convenient weight changes—is totally undermined when manually adding plates.Investing in a higher-capacity adjustable dumbbell set (like 80- to 90-pound models) or supplementing with specific heavier fixed dumbbells for certain exercises might be safer and more practical. For serious lifters approaching the upper limits of their adjustable dumbbells, I'd recommend supplementing with individual heavier dumbbells.

Researchers used the popular gene-editing technique CRISPR to modify the DNA sequences of house spiders, causing them to produce red fluorescent silk.Scientists are hoping that the US Navy and Air Force-funded research could lead to the development of new "supermaterials" produced by arachnids, Fast Company reports.As detailed in a paper published in the journal Angewandte Chemie, a team of researchers at the University of Bayreuth in Germany injected the eggs of unfertilized female spiders with a CRISPR-Cas9 solution to insert a gene sequence for a red fluorescent protein. After mating with males of the same species, the offspring produced red, fluorescent silk, demonstrating that the experiment had been successful."Considering the wide range of possible applications, it is surprising that there have been no studies to date using CRISPR-Cas9 in spiders," said senior author and University of Bayreuth professor Thomas Scheibel in a statement. "We have demonstrated, for the first time worldwide, that CRISPR-Cas9 can be used to incorporate a desired sequence into spider silk proteins, thereby enabling the functionalisation of these silk fibres."Apart from turning their silk bright red, the researchers also attempted to knock out a gene called sine oculis, which is responsible for the development of spider eyes. They found that the gene edit caused total or partial eye loss in experiments, highlighting its important role in visual development.By applying CRISPR-Cas9, a technique that has already been widely used to create custom medical treatments or make farm animals more resilient to diseases, the researchers are hoping to come up with a new generation of silk fibers."Successful spider silk engineering in vivo will, therefore, help to develop and employ new fiber functionalities for a broad range of applications," the team wrote in its paper. "So far, genetic modifications in spiders have been only aimed at evolutionary and developmental research."As Fast Company points out, materials scientists have already been investigating the tactile strength of the silk produced by gene-modified silkworms. But thanks to cutting-edge gene-editing techniques, researchers could soon harness the unique advantages of spider silk as well.While the researchers didn't single out specific use cases for future "supermaterials," the possible applications are practically endless, from lightweight body armor to ultralight running shoes."The ability to apply CRISPR gene-editing to spider silk is very promising for materials science research — for example, it could be used to further increase the already high tensile strength of spider silk," Scheibel explained.Share This Article

DeepSeek’s latest AI model, R1 0528, has raised eyebrows for a further regression on free speech and what users can discuss. “A big step backwards for free speech,” is how one prominent AI researcher summed it upAI researcher and popular online commentator ‘xlr8harder’ put the model through its paces, sharing findings that suggests DeepSeek is increasing its content restrictions.“DeepSeek R1 0528 is substantially less permissive on contentious free speech topics than previous DeepSeek releases,” the researcher noted. What remains unclear is whether this represents a deliberate shift in philosophy or simply a different technical approach to AI safety.What’s particularly fascinating about the new model is how inconsistently it applies its moral boundaries.In one free speech test, when asked to present arguments supporting dissident internment camps, the AI model flatly refused. But, in its refusal, it specifically mentioned China’s Xinjiang internment camps as examples of human rights abuses.Yet, when directly questioned about these same Xinjiang camps, the model suddenly delivered heavily censored responses. It seems this AI knows about certain controversial topics but has been instructed to play dumb when asked directly.“It’s interesting though not entirely surprising that it’s able to come up with the camps as an example of human rights abuses, but denies when asked directly,” the researcher observed.China criticism? Computer says noThis pattern becomes even more pronounced when examining the model’s handling of questions about the Chinese government.Using established question sets designed to evaluate free speech in AI responses to politically sensitive topics, the researcher discovered that R1 0528 is “the most censored DeepSeek model yet for criticism of the Chinese government.”Where previous DeepSeek models might have offered measured responses to questions about Chinese politics or human rights issues, this new iteration frequently refuses to engage at all – a worrying development for those who value AI systems that can discuss global affairs openly.There is, however, a silver lining to this cloud. Unlike closed systems from larger companies, DeepSeek’s models remain open-source with permissive licensing.“The model is open source with a permissive license, so the community can (and will) address this,” noted the researcher. This accessibility means the door remains open for developers to create versions that better balance safety with openness.The situation reveals something quite sinister about how these systems are built: they can know about controversial events while being programmed to pretend they don’t, depending on how you phrase your question.As AI continues its march into our daily lives, finding the right balance between reasonable safeguards and open discourse becomes increasingly crucial. Too restrictive, and these systems become useless for discussing important but divisive topics. Too permissive, and they risk enabling harmful content.DeepSeek hasn’t publicly addressed the reasoning behind these increased restrictions and regression in free speech, but the AI community is already working on modifications. For now, chalk this up as another chapter in the ongoing tug-of-war between safety and openness in artificial intelligence.(Photo by John Cameron)Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.Explore other upcoming enterprise technology events and webinars powered by TechForge here.

News Sapphire 2025: BASF evolves business with move to SAP S/4Hana Germany-based global chemical giant BASF has elected to move its SAP IT estate to S/4Hana private cloud to evolve its business in uncertain times By Brian McKenna, Enterprise Applications Editor Published: 29 May 2025 15:30 Chemical industry giant BASF is moving its SAP IT estate to the supplier’s S/4Hana enterprise resource planning (ERP) system as part of a business modernisation strategy, it was announced at the SAP Sapphire user and partner conference in Madrid. Petra Scheithe, senior vice-president of digitalization of services and ERP platforms at BASF Business Services, outlined the latest development in the company’s long-standing relationship with SAP. BASF, which employs around 112,000 people, has been an SAP customer for 40 years. Its headquarters in Ludwigshafen are a half-hour drive from SAP’s in Walldorf. According to a joint SAP/BASF statement, the chemical firm “adopted a hybrid system landscape to integrate SAP S/4Hana Cloud into BASF’s vast system and reduce the complexity of on-premise management. With a clean core strategy in place, any new customisations and functional extensions will be cloud-ready, allowing simplified system maintenance and operations in the long run.” BASF also intends to use SAP’s artificial intelligence (AI) and sustainability software.   The first of its new systems on S/4Hana, in its coatings business, is already live. BASF has four “core businesses”, in chemicals, materials, industrial solutions, and nutrition and care, and four standalone business units in agriculture and surface technologies, catalysts and metals, battery materials, and coatings. BASF is also using SAP’s Joule copilot for initial use cases in SAP’s SuccessFactors HR system, and is looking at other cases for core business processes. “We signed a new strategic partnership with SAP in December 2024,” said Scheithe, in an interview at Sapphire. “This includes Rise [with SAP], which we did not have before.” Rise is a so-called business transformation as a service programme that is fundamentally about cloud migration, and getting customers, new and existing, onto a cloud-delivered version of its S/4Hana ERP system based on its in-memory database, Hana. BASF’s existing SAP estate is one single global instance. “That has brought some challenges with it because over the last decade, we have really grown that system to a point where we said ‘this is difficult to manage’,” said Scheithe. “We have a very broad product portfolio, from our agricultural business, our coatings business, catalysts, battery materials, and copper and metals,” she said. “Combining all of those requirements in one SAP system led to the point that we have more than 300,000 custom objects in the system, so it’s huge and monolithic. The transition to S/4Hana is a chance to clear that up.” The idea is to back up the BASF strategy, called Winning Ways, with a modernised ERP system. The overall corporate strategy has the goal of BASF being “the preferred chemical company to enable our customers’ green transformation”. It includes a €10bn investment in what the company calls a Verbund site in Zhanjiang in China. At these sites, production plants, energy and material flows, logistics, and site infrastructure are all integrated, according to the company. There are currently six worldwide. In relation to the SAP environment, Scheithe said they decided to split the one instance into several business-related ones. The new company strategy, minted in 2024, means there is a pillar dedicated to “differentiated steering with different market requirements”, she added. Read more about SAP customers Rise with SAP offers a path to the cloud for SAP customers, but adoption is still hindered by customer concerns over costs, flexibility and SAP's cloud-only innovation strategy. SAP sales tactic fuels IT disconnect. SAP customer unrest: How did we get here? BASF started to build an S/4Hana instance in 2022 for the coatings business, with “a greenfield approach using clean core strategy”. This went live in March of this year, “on time and on budget, which I am super proud of”, said Scheithe. The firm is now implementing S/4 for the battery materials division and piloting for the agricultural business. “Clean core” in an SAP context means keeping the core system as standard as possible, with minimal custom modifications.  They also opted for SAP’s Rise programme so that their systems are as close as possible to standard SAP and to leverage the IT supplier’s innovations in AI. Scheithe said she’s very interested to explore the use of the technology from SAP’s 2024 acquisition, WalkMe. This is a digital adoption platform technology that is increasingly associated with the use of SAP’s GenAI assistant, Joule. WalkMe sits on top of an organisation’s IT applications layer and determines where users might experience difficulties such as getting stuck when performing a process or task. WalkMe then provides guidance and automated processes that help the user complete the task. BASF is not using it as yet. It’s using Joule for HR tasks, in SuccessFactors, and Sheithe is especially interested in its use for developers. “We are not so naïve as to believe now that with implementing S/4 we will cover all our business requirements that we had in the past,” she said. “We have more than 300,000 custom objects in our system, and those were not done just because developers like to develop, but for business requirements. If we can’t get rid of those, we don’t want them in our core system, so it will be helpful if we have tools on hand that make our developers more efficient. This why I’m so excited about Joule for developers.” Thomas Saueressig, a member of the executive board of SAP for customer services and delivery, said: “We are proud to partner with BASF on this transformative journey. “By choosing SAP S/4Hana Cloud, BASF is laying a strong foundation for future growth and innovation,” he said. “The ability to leverage a clean core and standardised processes will provide BASF with the agility and resilience needed to thrive in today’s dynamic business environment.” In The Current Issue: UK government outlines plan to surveil migrants with eVisa data Why we must reform the Computer Misuse Act: A cyber pro speaks out Download Current Issue FinOps Foundation lays down 2025 Framework for Cloud+ cost control – Open Source Insider Bit Cloud offers Hope AI for developers  – CW Developer Network View All Blogs

Presentation Pavillon des arts Cite du Havre. Image credit: CIAC The Montreal International Centre for Contemporary Art (CIAC) is proposing to redevelop the former Expo 67 Art Museum into the Cité-du-Havre Arts Pavilion; a project which aims to revitalize a site rich in Montreal’s cultural history, and transform it into a hub for artistic expression and public engagement. The building, located at 2190 Pierre-Dupuy Street, was originally designed for Expo 67 and later housed the Montreal Museum of Contemporary Art from 1968 to 1992. After, it served as a warehouse for the Casino de Montréal from 1998 to 2023. Designed by architects Paul Gauthier, Gilles Guité, and Gilles Côté, the building is an important legacy of Expo 67. While a 2023 request to designate the building as a protected heritage site was denied, many still recognize its heritage value, reports La Presse. It remains one of the last surviving pavilions from Expo 67, alongside Habitat 67, making its preservation a matter of public interest. A previous heritage study from 2006 highlighted the building’s “advanced decay” and numerous inappropriate modifications. Recent visits by project initiator Claude Gosselin suggest that the exhibition halls remain in good condition and could be restored for cultural use. Renovation costs are estimated at between $5 million and $10 million. The proposal for the site supports the City of Montreal’s plans to build 13,500 housing units in the Bridge-Bonaventure sector. As part of this expansion, the inclusion of the Cité-du-Havre Cultural Park would provide a cultural and recreational space for the public. The park and arts pavilion are also envisioned as important elements of a broader plan to improve the quality of life in this area. Gosselin envisions restoring the pavilion for its original purpose as a space for contemporary art and proposes that the museum be dedicated to Les Automatistes, an influential artistic movement in Quebec. The museum would also include a documentation center, exhibition rooms for CIAC, and a sculpture garden surrounding the building, which aims to be reminiscent of the one that existed during Expo 67. Despite this proposal being in the works, the building’s future remains uncertain. When the property was listed for sale in October 2023, a real estate developer expressed interest in demolishing it to build a condominium tower, causing concern among heritage advocates. For more information, click here.   The post CIAC proposes reviving Expo 67 Art Museum as an arts pavilion appeared first on Canadian Architect.