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In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.   The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west.  Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa (UNECA). This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism.  Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area (AfCFTA), established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway (TAH) 4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent.  Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent.  ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’ However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970.  Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction.  The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell Credit: Fox Photos / Getty The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire Credit: Library of Congress, Geography and Map Division This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated.  These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism.  Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship.  Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968 Credit: Associated Press / Alamy The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’.  But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise. 2025-06-13 Kristina Rapacki Share

As AI faces court challenges from Disney and Universal, legal battles are shaping the industry's future | Opinion Silicon advances and design innovations do still push us forward – but the future landscape of the industry is also being sculpted in courtrooms and parliaments Image credit: Disney / Epic Games Opinion by Rob Fahey Contributing Editor Published on June 13, 2025 In some regards, the past couple of weeks have felt rather reassuring. We've just seen a hugely successful launch for a new Nintendo console, replete with long queues for midnight sales events. Over the next few days, the various summer events and showcases that have sprouted amongst the scattered bones of E3 generated waves of interest and hype for a host of new games. It all feels like old times. It's enough to make you imagine that while change is the only constant, at least it's we're facing change that's fairly well understood, change in the form of faster, cheaper silicon, or bigger, more ambitious games. If only the winds that blow through this industry all came from such well-defined points on the compass. Nestled in amongst the week's headlines, though, was something that's likely to have profound but much harder to understand impacts on this industry and many others over the coming years – a lawsuit being brought by Disney and NBC Universal against Midjourney, operators of the eponymous generative AI image creation tool. In some regards, the lawsuit looks fairly straightforward; the arguments made and considered in reaching its outcome, though, may have a profound impact on both the ability of creatives and media companies (including game studios and publishers) to protect their IP rights from a very new kind of threat, and the ways in which a promising but highly controversial and risky new set of development and creative tools can be used commercially. A more likely tack on Midjourney's side will be the argument that they are not responsible for what their customers create with the tool I say the lawsuit looks straightforward from some angles, but honestly overall it looks fairly open and shut – the media giants accuse Midjourney of replicating their copyrighted characters and material, and of essentially building a machine for churning out limitless copyright violations. The evidence submitted includes screenshot after screenshot of Midjourney generating pages of images of famous copyrighted and trademarked characters ranging from Yoda to Homer Simpson, so "no we didn't" isn't going to be much of a defence strategy here. A more likely tack on Midjourney's side will be the argument that they are not responsible for what their customers create with the tool – you don't sue the manufacturers of oil paints or canvases when artists use them to paint something copyright-infringing, nor does Microsoft get sued when someone writes something libellous in Word, and Midjourney may try to argue that their software belongs in that tool category, with users alone being ultimately responsible for how they use them. If that argument prevails and survives appeals and challenges, it would be a major triumph for the nascent generative AI industry and a hugely damaging blow to IP holders and creatives, since it would seriously undermine their argument that AI companies shouldn't be able to include copyrighted material into training data sets without licensing or compensation. The reason Disney and NBCU are going after Midjourney specifically seems to be partially down to Midjourney being especially reticent to negotiate with them about licensing fees and prompt restrictions; other generative AI firms have started talking, at least, about paying for content licenses for training data, and have imposed various limitations on their software to prevent the most egregious and obvious forms of copyright violation (at least for famous characters belonging to rich companies; if you're an individual or a smaller company, it's entirely the Wild West out there as regards your IP rights). In the process, though, they're essentially risking a court showdown over a set of not-quite-clear legal questions at the heart of this dispute, and if Midjourney were to prevail in that argument, other AI companies would likely back off from engaging with IP holders on this topic. To be clear, though, it seems highly unlikely that Midjourney will win that argument, at least not in the medium to long term. Yet depending on how this case moves forward, losing the argument could have equally dramatic consequences – especially if the courts find themselves compelled to consider the question of how, exactly, a generative AI system reproduces a copyrighted character with such precision without storing copyright-infringing data in some manner. The 2020s are turning out to be the decade in which many key regulatory issues come to a head all at once AI advocates have been trying to handwave around this notion from the outset, but at some point a court is going to have to sit down and confront the fact that the precision with which these systems can replicate copyrighted characters, scenes, and other materials requires that they must have stored that infringing material in some form. That it's stored as a scattered mesh of probabilities across the vertices of a high-dimensional vector array, rather than a straightforward, monolithic media file, is clearly important but may ultimately be considered moot. If the data is in the system and can be replicated on request, how that differs from Napster or The Pirate Bay is arguably just a matter of technical obfuscation. Not having to defend that technical argument in court thus far has been a huge boon to the generative AI field; if it is knocked over in that venue, it will have knock-on effects on every company in the sector and on every business that uses their products. Nobody can be quite sure which of the various rocks and pebbles being kicked on this slope is going to set off the landslide, but there seems to be an increasing consensus that a legal and regulatory reckoning is coming for generative AI. Consequently, a lot of what's happening in that market right now has the feel of companies desperately trying to establish products and lock in revenue streams before that happens, because it'll be harder to regulate a technology that's genuinely integrated into the world's economic systems than it is to impose limits on one that's currently only clocking up relatively paltry sales and revenues. Keeping an eye on this is crucial for any industry that's started experimenting with AI in its workflows – none more than a creative industry like video games, where various forms of AI usage have been posited, although the enthusiasm and buzz so far massively outweighs any tangible benefits from the technology. Regardless of what happens in legal and regulatory contexts, AI is already a double-edged sword for any creative industry. Used judiciously, it might help to speed up development processes and reduce overheads. Applied in a slapdash or thoughtless manner, it can and will end up wreaking havoc on development timelines, filling up storefronts with endless waves of vaguely-copyright-infringing slop, and potentially make creative firms, from the industry's biggest companies to its smallest indie developers, into victims of impossibly large-scale copyright infringement rather than beneficiaries of a new wave of technology-fuelled productivity. The legal threat now hanging over the sector isn't new, merely amplified. We've known for a long time that AI generated artwork, code, and text has significant problems from the perspective of intellectual property rights (you can infringe someone else's copyright with it, but generally can't impose your own copyright on its creations – opening careless companies up to a risk of having key assets in their game being technically public domain and impossible to protect). Even if you're not using AI yourself, however – even if you're vehemently opposed to it on moral and ethical grounds (which is entirely valid given the highly dubious land-grab these companies have done for their training data), the Midjourney judgement and its fallout may well impact the creative work you produce yourself and how it ends up being used and abused by these products in future. This all has huge ramifications for the games business and will shape everything from how games are created to how IP can be protected for many years to come – a wind of change that's very different and vastly more unpredictable than those we're accustomed to. It's a reminder of just how much of the industry's future is currently being shaped not in development studios and semiconductor labs, but rather in courtrooms and parliamentary committees. The ways in which generative AI can be used and how copyright can persist in the face of it will be fundamentally shaped in courts and parliaments, but it's far from the only crucially important topic being hashed out in those venues. The ongoing legal turmoil over the opening up of mobile app ecosystems, too, will have huge impacts on the games industry. Meanwhile, the debates over loot boxes, gambling, and various consumer protection aspects related to free-to-play models continue to rumble on in the background. Because the industry moves fast while governments move slow, it's easy to forget that that's still an active topic for as far as governments are concerned, and hammers may come down at any time. Regulation by governments, whether through the passage of new legislation or the interpretation of existing laws in the courts, has always loomed in the background of any major industry, especially one with strong cultural relevance. The games industry is no stranger to that being part of the background heartbeat of the business. The 2020s, however, are turning out to be the decade in which many key regulatory issues come to a head all at once, whether it's AI and copyright, app stores and walled gardens, or loot boxes and IAP-based business models. Rulings on those topics in various different global markets will create a complex new landscape that will shape the winds that blow through the business, and how things look in the 2030s and beyond will be fundamentally impacted by those decisions.

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.

Image of the Archbishop of Canterbury's letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council. (Image Credit: Register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council.)NewsletterSign up for our email newsletter for the latest science newsEspionage, sex, public humiliation, murder — these may sound like tropes straight out of Game of Thrones, but they’re actually all elements of a nearly 700-year-old cold case in England. After analyzing Medieval letters and records, a research team from the Cambridge University Institute of Criminology’s Medieval Murder Maps project may have found the killer of a priest. However, this priest may not have been so innocent. A new paper published in Criminal Law Forum takes a deeper look at this 14th-century cold case.Tracing a Medieval MurderThe Medieval Murder Maps project uses interactive maps of three English cities, London, Oxford, and York, during the Medieval period. Throughout the cities are the locations of various deaths and murders. Each location has a story associated with it, directly from written records and coroners' reports at the time. Some of these stories are full of intriguing twists and turns.The Cambridge research team analyzed over 100 murders from texts, translated from Latin, from that period, and used a coding method to separate the deaths into different categories, including time (day, week, month), motivation, weapon used, victim, and location. From this information, one of the deaths the team found most interesting was the murder of John Forde in 1337.A Medieval Lover to Murderer From the letters and texts the team analyzed, they pieced together the events that led up to Forde’s death. Forde was a priest living in London when he was murdered on a busy street. But what possible reason would someone have to want to murder a priest? The motive, according to the research team, was likely revenge. According to Manuel Eisner, one of the study’s authors, the murder may have been an act of revenge by noblewoman Ela Fitzpayne. According to the records, the Archbishop of Canterbury, Simon Mepham, had enacted penance on Fitzpayne after it was discovered that Forde had been her lover. A letter written by Archbishop Mepham accused Fitzpayne of adultery with Forde and possibly others. Her penance was to take a barefoot walk of shame across Salisbury Cathedral. Eisner also found a document that suggested Fitzpayne, her husband, and John Forde sent a gang to rob a church priory and took the livestock for ransom. It’s possible that during this time, Forde found himself in bed with Fitzpayne, before betraying her to the Archbishop Mepham. Commissioned Murder Possibly betrayed by her former lover and sentenced to walks of shame that were to take place once a year for seven years,  Fitzpayne would have none of it. On an early evening on a busy London street, near St. Paul’s Cathedral, three men attacked Forde. One slit his throat while the others stabbed him in the gut. Witnesses claim that the murderers were Fitzpayne’s brother and two of her former servants. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” said Eisner in a press release.Cold Case RevealedAccording to letters from Archbishop Mepham, Fitzpayne was led by the devil and a “spirit of pride.”“The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” said Eisner in a press release. “Not least as John Forde appears to have escaped punishment by the church.” When Archbishop Mepham died in 1333, Fitzpayne waited four years before enacting her revenge, and in 1337, Forde was killed. 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:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.1 free article leftWant More? Get unlimited access for as low as $1.99/monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as $1.99!SubscribeAlready a subscriber?Register or Log In

A Microsoft-backed AI startup that relied on hundreds of human workers posing as chatbots has collapsed into bankruptcy amid fraud allegations. ISSOUF SANOGO/AFP via Getty Images A once-hyped AI startup backed by Microsoft has filed for bankruptcy after it was revealed that its so-called artificial intelligence was actually hundreds of human workers in India pretending to be chatbots.Builder.ai, a London-based company previously valued at $1.5 billion, marketed its platform as an AI-powered solution that made building apps as simple as ordering pizza. Its virtual assistant, "Natasha," was supposed to generate software using artificial intelligence.In reality, nearly 700 engineers in India were manually coding customer requests behind the scenes, the Times of India reported.The ruse began to collapse in May when lender Viola Credit seized $37 million from the company's accounts, uncovering that Builder.ai had inflated its 2024 revenue projections by 300%. An audit revealed the company generated just $50 million in revenue, far below the $220 million it claimed to investors.A Wall Street Journal report from 2019 had already questioned Builder.ai's AI claims, and a former executive sued the company that same year for allegedly misleading investors and overstating its technical capabilities.Despite that, the company raised over $445 million from big names including Microsoft and the Qatar Investment Authority. Builder.ai's collapse has triggered a federal investigation in the U.S., with prosecutors in New York requesting financial documents and customer records.Founder Sachin Dev Duggal stepped down earlier this year and was replaced by Manpreet Ratia, who reportedly uncovered the company's internal misrepresentations.The company now owes millions to Amazon and Microsoft in cloud computing costs and has laid off around 1,000 employees. On LinkedIn, the company announced its entry into insolvency proceedings, citing "historic challenges and past decisions" that strained its finances.The fallout is seen as one of the biggest failures of the post-ChatGPT AI investment boom and has renewed scrutiny of "AI washing"—the trend of rebranding manual services as artificial intelligence to secure funding.© 2025 Latin Times. All rights reserved. Do not reproduce without permission.

Scholars of gender and sexuality have been exploring ‘queer spaces’ for over six decades. While for many years homes and domesticity remained out of focus or at the margins of queer space research, a recent ‘domestic turn’ has brought queer people’s homes to the foreground. Queer Spaces (2022), a recollection of case studies of queer domestic spaces edited by Joshua Mardell and Adam Nathaniel Furman, is just one significant work within the recent shift to explore the intersection of queer identities and domesticity, for example. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival Over the past four years I have documented the homes of LGBTQ+ people and come to understand how they inhabit them through interviews, detailed spatial drawings and the creation of dollhouses. This methodology deliberately subverts traditional architectural model-making conventions, emphasising narrative over spatial clarity, interior qualities over façades, and incorporating elaborate details that standard architectural models typically avoid. While this may feel like a rather unusual pursuit for an architect, it’s also one I feel is necessary and urgent. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival My current research builds upon years of professional practice in London and scrutinises the limitations of standardised design approaches. Through interviews and detailed spatial surveys, I am examining how queer families navigate living spaces designed according to the London Plan’s Housing Design Guide.Advertisement Early findings from my field work show a chasm between the queer daily lives of some of London’s LGBTQ+ families and the rigid homes the standard produces. In cases where spatial flexibility is available within domestic architecture, wonderful, innovative, caring and radical uses of domestic space emerge, enabling queer forms of raising children or coexisting with current and former lovers. These are not just joyful nice-to-haves, but essential for my participants to live their queerness at home, in full. Homes should not just be where queer folk feel safe; they must also be spaces where our queerness flourishes. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The housing emergency in the UK and most of the Western world has urged architects, planners and developers to focus on an increased delivery of ‘units of housing’. Perhaps unsurprisingly, my early findings suggest that this sense of urgency risks under-delivering on quality and space. Housing standards have codified aesthetic, functional, and spatial homogeneity. They reproduce conservative ideals of housing and family at a time when families are growing more and more diverse. All the while, with the expansion of permitted development rights, they are failing to deliver an overall improvement in size and quality of the UK’s housing stock. Disobedient Dollhouse No.1, 2023, Photography by Sophie Percival The need for an alternative, open-ended and, perhaps, queer toolkit to design homes – one that expands the ethical and aesthetic horizons of housing design – has never been more urgent. I am therefore also working on developing my ‘disobedient dollhouse making’ as a design tool. One that puts future users at the centre, allowing them to fabulate a different horizon for housing design. My aim is to use dollhouses as a ‘serious’ design game that enables participants to explore the true possibilities of housing beyond the ‘straightjacket’ of the standard. Follow Daniel Ovalle Costal’s research at @QueerDomCanon on Instagram 2025-06-03 Fran Williams comment and share

ZDNET's key takeaways The OnePlus 13 is a snappy, nearly no-compromise phone that starts at $899. A Snapdragon 8 Elite, paired with a 6,000mAh battery and 80W fast charging, is a recipe for endurance success. IP69 is almost excessive, but you'll appreciate it when least expected. $999.99 at Best Buy apr / 2025Over at OnePlus' website, both OnePlus 13 models are on sale for $50 off, and each purchase comes with a free gift. Options include a OnePlus Nord Buds 3 Pro and a Sandstone Magnetic Case.It's not often that I review a smartphone in the first few calendar weeks and feel confident in calling it a "Phone of the Year" contender. But when I tested the OnePlus 13 back in January, that's precisely what happened.Whether Google finally launches a Pixel Pro Fold with a flagship camera system this summer, or Apple releases a thinner iPhone in the fall, the OnePlus 13 will likely still be on my mind when the year-end nominations are due.Also: I changed 10 OnePlus phone settings to significantly improve the user experienceThere's a lot going for the latest flagship phone, from the more secure (and reliable) ultrasonic fingerprint sensor to the IP69 rating to the 6,000mAh Silicon NanoStack battery. It's also one of the first phones in North America to feature Qualcomm's new Snapdragon 8 Elite chip, which promises improvements to performance, efficiency, and AI workloads.I tested the OnePlus 13 alongside my iPhone 16 Pro Max and Google Pixel 9 Pro XL to see exactly how the Android phone stacked up against one of the best phones from 2024. In a few ways, the OnePlus 13 falls short, but in many ways, it puts the iPhone and Pixel to shame.When I first unboxed the OnePlus 13 and held it in my hand, my reaction was audible. Allow me to geek out here: The slightly curved glass, the slimness of the phone, and the overall appearance made my then-four-month-old iPhone look and feel outdated. It's as if OnePlus made the iPhone 17 Air before Apple did.However, what sells the OnePlus 13 design for me is the new Midnight Ocean color, which flaunts a vegan-leather backing that makes the phone visually distinctive and more comfortable to hold than its glass-only predecessors. The texture isn't as rough and grippy as actual leather, though, so I'd be interested in seeing how it ages over the year. (April update: The textured backing is holding up well, save for a few dark spots on the corners, likely caused by the phone rubbing against my palms.) Kerry Wan/ZDNETIf you were hoping the first major Android phone of 2025 would feature Qi2 wireless charging, I have good news and bad news. While the OnePlus 13 doesn't have an in-body Qi2 charging coil, meaning MagSafe (and similar) accessories won't attach directly to the back of the device, OnePlus has embedded magnetic guides within its protective covers, enabling users to take advantage of the accessories so long as the OnePlus 13 is encased. It's a burdenless workaround, but one that hopefully won't be necessary with the next model.For what it's worth, since publishing this review, several other Android phones have been released, including the Samsung Galaxy S25 Ultra, Nothing Phone 3a Pro, and Motorola Razr Ultra -- none of which feature Qi2 wireless charging.For years, one aspect that's held OnePlus phones back is the water and dust resistance rating, or lack thereof. With the OnePlus 13, the company is finally taking a stronger stance on the endurance standard, certifying the phone with an IP69 rating. It's a step above the IP68 ratings we commonly see on competing devices, and allows the OnePlus 13 to withstand high-pressure, high-temperature water jets and humidity changes.Also: 5 habit trackers on Android that can reveal your patterns - and motivate you to changeIn practice, this means the OnePlus 13 can function properly even if you leave it in your washer and dryer, dishwasher, or a pot of boiling soup. The IP69 rating feels very much like a flex, but it's a benefit that users will appreciate when they least expect it. Kerry Wan/ZDNETPowering the device is a Qualcomm Snapdragon 8 Elite chip that, from my months of usage, has some noticeable strengths and weaknesses. For day-to-day usage, such as bouncing between productivity apps, definitely not scrolling through TikTok, and taking photos and videos, the processor handles tasks gracefully. It helps that OxygenOS 15, based on the latest version of Android, has some of the smoothest animations I've seen on a phone.Also: I found a Bluetooth tracker for Android users that functions better than AirTags (and it's cheaper)But once you fire up graphics-intensive applications like Adobe Premiere Rush and Honkai Star Rail, you'll notice some stuttering as the higher heat development leads to throttling performance. This isn't a dealbreaker, per se, as the nerfs are only apparent when you're using the device for a prolonged time.I've actually been using the OnePlus 13 quite liberally, as the 6,000mAh Silicon NanoStack battery has kept my review unit running for at least a day and a half per charge. That's unseen with any other mainstream phone in the US market, and I fully expect more manufacturers to adopt silicon batteries for their greater energy density. If not that, copy the 80W fast charging or 50W wireless charging; they're quite the revelation. Kerry Wan/ZDNETOn the camera front, the OnePlus 13, with its triple camera setup (50MP wide, ultrawide, and telephoto), has been a reliable shooter throughout most of my days. While the Sony LYT-808 sensor isn't on par with the one-inch sensors I've tested on international phones like the Xiaomi 15 Ultra, it does an excellent job of capturing details and finishing the output vividly. If you're a fan of sharp, bright, and slightly oversaturated imagery (read: more colorful than how the actual subject appears), then the OnePlus 13 will serve you well.Also: The best Android phones to buy in 2025Where the camera sensors fall short is in post-processing and AI-tuning features. For example, the phone leans heavily on computational photography to contextualize details when taking far-distance shots. This sometimes leads to images with an artificial, over-smoothing filter. But when the backend software works, it can reproduce details that you probably didn't think you'd capture in the first place.ZDNET's buying adviceFor a starting price of $899, the OnePlus 13 delivers some seriously good value -- possibly the best of all the major flagship phones I've tested so far this year. The company has improved the device in almost every way, from the design to the performance to its accessory ecosystem. I just wish OnePlus offered more extensive software support, as the OnePlus 13 will only receive four years of Android OS updates and six years of security updates. Samsung, Google, and Apple offer at least seven years of OS support. If you can shoulder the shorter promise of longevity, this is one of the easiest phones for me to recommend right now. Why the OnePlus 13 gets an Editors' Choice award We awarded the OnePlus 13 an Editors' Choice because it nails all the fundamentals of a great smartphone experience while leading the market in some regards, such as battery and charging, durability, and design. The specs this year are noticeably improved compared to its predecessor, the OnePlus 12, with a faster processor, lighter build, larger battery capacity, and a more capable camera system. Most importantly, the OnePlus 13 starts at $899, undercutting its closest competitors like the Google Pixel 9 Pro XL and Samsung Galaxy S25 Ultra. Show more When will this deal expire? As per OnePlus, this offer will end on June 8, 2025.However, deals are subject to sell out or expire at any time, though ZDNET remains committed to finding, sharing, and updating the best product deals for you to score the best savings. Our team of experts regularly checks in on the deals we share to ensure they are still live and obtainable. We're sorry if you've missed out on a deal, but don't fret -- we constantly find new chances to save and share them with you on ZDNET.com.  Show more What are the tariffs in the US? The recent US tariffs on imports from countries like China, Vietnam, and India aim to boost domestic manufacturing but are likely to drive up prices on consumer electronics. Products like smartphones, laptops, and TVs may become more expensive as companies rethink global supply chains and weigh the cost of shifting production.Smartphones are among the most affected by the new US tariffs, with devices imported from China and Vietnam facing steep duties that could raise retail prices by 20% or more. Brands like Apple and Google, which rely heavily on Asian manufacturing, may either pass these costs on to consumers or absorb them at the expense of profit margins. The tariffs could also lead to delays in product launches or shifts in where and how phones are made, forcing companies to diversify production to countries with more favorable trade conditions. Show more This story was originally published on January 7, 2025, and was updated on June 1, 2025, adding information for a new June discount.Featured reviews

Asus' routers and popular and well-reviewed. As such, there's a good chance you have one of its devices powering your home wifi. If you do, you should probably check on it, since thousands of Asus' routers are now compromised. What happened?Cybersecurity company GreyNoise published a blog post about this router attack on Wednesday. GreyNoise says attackers used brute-force login attempts (running millions of login attempts until the right match is found) and authentication bypasses (forcing your way in around traditional authentication protocols) to break into these routers. Notably, hackers used authentication bypass techniques that aren't assigned CVEs (common vulnerabilities and exposures). CVEs are labels used to track publicly disclosed security vulnerabilities, which means the security vulnerabilities were either unknown or known only to a limited circle.Once in, hackers exploited the Asus router's CVE-2023-39780 vulnerability to run whatever commands they wanted. Hackers enabled SSH (secure shell) access through Asus' settings, which let them connect to and control the devices. They then stored the configuration—or backdoor—in NVRAM, rather than the disk of the router. The hackers did not leave malware behind, and even disabled logging, which makes their attacks difficult to detect. It's not clear who is behind these attacks, but GreyNoise did say the following: "The tactics used in this campaign—stealthy initial access, use of built-in system features for persistence, and careful avoidance of detection—are consistent with those seen in advanced, long-term operations, including activity associated with advanced persistent threat (APT) actors and operational relay box (ORB) networks. While GreyNoise has made no attribution, the level of tradecraft suggests a well-resourced and highly capable adversary."How did GreyNoise find out?Sift, GreyNoise’s AI technology, first detected an issue on March 17, noticing unusual traffic. GreyNoise uses fully emulated Asus profiles running factory firmware to test for issues like these, which let researchers observe the attackers' full behavior, reproduce the attack, and discover how the backdoor was installed. Researchers at the company received Sift’s report the following day, and began researching, coordinating with “government and industry partners.” GreyNoise reported that, as of May 27, nearly 9,000 routers were confirmed compromised. The company is pulling that data from Censys, which keeps tabs on internet-facing devices throughout the world. To make matters worse, the affected devices only continue to increase: As of this piece, there were 9,022 impacted routers listed on Censys' site. Luckily, GreyNoise reports that Asus patched the security vulnerability in a recent firmware update. However, if the router was compromised before the patch was installed, the backdoor hackers put into the router will not be removed. Even if this is the case, you can take action to protect your router.If you have an Asus router, do thisFirst, confirm your router is actually made by Asus. If it is, log in to your router via your internet browser. Logging into your router varies by device, but according to Asus, you can head to www.asusrouter.com, or enter your router's IP address into your address bar, then log in with your Asus router username and password. Asus says if this is the first time you've logged into the router, you'll need to set up your account.From here, identify the "Enable SSD" settings option. (You may find this under "Service" or "Administration," according to PCMag.) You'll know the router is compromised if you see that someone can log in via SSH over port 53828 with the following key: ssh-rsa AAAAB3NzaC1yc2EAAAABIwAAAQEAo41nBoVFfj4HlVMGV+YPsxMDrMlbdDZ (the rest of the key has been cut for length).Now, disable the SSH entry and block these IP addresses: 101.99.91.151101.99.94.17379.141.163.179111.90.146.237From here, factory reset your router. Unfortunately, the patch alone won't be enough, since the attack survives any update. A total reset is the only way to be sure your router is protected. However, if you see your router was not affected here, install the latest firmware update ASAP. Unaffected routers that install the latest patch will be protected from this type of attack going forward.

Deal  When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. Hisense U6 Smart Fire TVs are at their lowest prices ever Fiza Ali Neowin @Fiza_Aliii · May 31, 2025 14:48 EDT Ahead of Father's Day, Hisense is offering five variants of the U6 Series Smart Fire TV (2025 model) at their all-time low prices. The U6 Series offers a 4K UHD (3,840×2,160) resolution while its backlight system comprises approximately 1,000 mini-LEDs arranged in a Full Array Local Dimming configuration. Colour reproduction is achieved through QLED quantum-dot technology, enabling the display to render over one billion colours. Furthermore, the panel supports a wide colour gamut, which results in more accurate renditions of natural hues. A Total HDR Solution ensures compatibility with multiple HDR formats, including Dolby Vision IQ, HDR 10 + Adaptive, HDR 10, HDR 10 + Gaming, and HLG. At the core of the U6 Series is the Hi-View AI Engine, a chipset that handles advanced picture processing tasks. These include an AI-powered 4K Upscaler, AI Smooth Motion, and AI Sports Mode. Collectively, these features ensure that fine details are reproduced with greater clarity. For gaming, the TV offers Game Mode Pro, which supports a native 144Hz refresh rate and Variable Refresh Rate (VRR) ranging from 48Hz to 144Hz. An on-screen Game Bar allows users to toggle VRR settings, monitor input lag, and access gaming presets directly. Connectivity options include four HDMI ports (two HDMI 2.1 and two HDMI 2.0), one of which supports eARC via HDMI 1, two USB ports (one USB 3.0 and one USB 2.0), an Ethernet (LAN) port and an optical digital audio output. Moreover, wireless connectivity comprises Wi-Fi 6 and Bluetooth 5.2. The U6 Series runs on the Fire TV platform with Alexa built in, granting access to a library of streaming apps and voice control functionality. Audio is enhanced by Dolby Atmos, and the unit features a 2.1-channel surround-sound configuration. Additional capabilities include noise-reduction processing, closed caption support, a sleep timer, and parental control functions. 55" Hisense U6 Series Mini-LED 4K Smart Fire TV: $528.99 (Amazon US) 34% off 65" Hisense U6 Series Mini-LED 4K Smart Fire TV: $698.99 (Amazon US) 30% off 75" Hisense U6 Series Mini-LED 4K Smart Fire TV: $898.99 (Amazon US) 31% off 85" Hisense U6 Series Mini-LED 4K Smart Fire TV: $1,299.99 (Amazon US) 35% off 100" Hisense U6 Series Mini-LED 4K Smart Fire TV: $2,599.99 (Amazon US) This Amazon deal is US-specific and not available in other regions unless specified. If you don't like it or want to look at more options, check out the Amazon US deals page here. Get Prime (SNAP), Prime Video, Audible Plus or Kindle / Music Unlimited. Free for 30 days. As an Amazon Associate, we earn from qualifying purchases. Tags Report a problem with article Follow @NeowinFeed