For the past two years, it’s been a ghost in the machine of American tech. Between 2022 and today, a little-noticed tweak to the U.S. tax code has quietly rewired the financial logic of how American companies invest in research and development. Outside of CFO and accounting circles, almost no one knew it existed. “I work on these tax write-offs and still hadn’t heard about this,” a chief operating officer at a private-equity-backed tech company told Quartz. “It’s just been so weirdly silent.”AdvertisementStill, the delayed change to a decades-old tax provision — buried deep in the 2017 tax law — has contributed to the loss of hundreds of thousands of high-paying, white-collar jobs. That’s the picture that emerges from a review of corporate filings, public financial data, analysis of timelines, and interviews with industry insiders. One accountant, working in-house at a tech company, described it as a “niche issue with broad impact,” echoing sentiments from venture capital investors also interviewed for this article. Some spoke on condition of anonymity to discuss sensitive political matters.Since the start of 2023, more than half-a-million tech workers have been laid off, according to industry tallies. Headlines have blamed over-hiring during the pandemic and, more recently, AI. But beneath the surface was a hidden accelerant: a change to what’s known as Section 174 that helped gut in-house software and product development teams everywhere from tech giants such as Microsoft (MSFT) and Meta (META) to much smaller, private, direct-to-consumer and other internet-first companies.Now, as a bipartisan effort to repeal the Section 174 change moves through Congress, bigger questions are surfacing: How did a single line in the tax code help trigger a tsunami of mass layoffs? And why did no one see it coming? For almost 70 years, American companies could deduct 100% of qualified research and development spending in the year they incurred the costs. Salaries, software, contractor payments — if it contributed to creating or improving a product, it came off the top of a firm’s taxable income.AdvertisementThe deduction was guaranteed by Section 174 of the IRS Code of 1954, and under the provision, R&D flourished in the U.S.Microsoft was founded in 1975. Apple (AAPL) launched its first computer in 1976. Google (GOOGL) incorporated in 1998. Facebook opened to the general public in 2006. All these companies, now among the most valuable in the world, developed their earliest products — programming tools, hardware, search engines — under a tax system that rewarded building now, not later.The subsequent rise of smartphones, cloud computing, and mobile apps also happened in an America where companies could immediately write off their investments in engineering, infrastructure, and experimentation. It was a baseline assumption — innovation and risk-taking subsidized by the tax code — that shaped how founders operated and how investors made decisions.In turn, tech companies largely built their products in the U.S. AdvertisementMicrosoft’s operating systems were coded in Washington state. Apple’s early hardware and software teams were in California. Google’s search engine was born at Stanford and scaled from Mountain View. Facebook’s entire social architecture was developed in Menlo Park. The deduction directly incentivized keeping R&D close to home, rewarding companies for investing in American workers, engineers, and infrastructure.That’s what makes the politics of Section 174 so revealing. For all the rhetoric about bringing jobs back and making things in America, the first Trump administration’s major tax bill arguably helped accomplish the opposite.When Congress passed the Tax Cuts and Jobs Act (TCJA), the signature legislative achievement of President Donald Trump’s first term, it slashed the corporate tax rate from 35% to 21% — a massive revenue loss on paper for the federal government.To make the 2017 bill comply with Senate budget rules, lawmakers needed to offset the cost. So they added future tax hikes that wouldn’t kick in right away, wouldn’t provoke immediate backlash from businesses, and could, in theory, be quietly repealed later.AdvertisementThe delayed change to Section 174 — from immediate expensing of R&D to mandatory amortization, meaning that companies must spread the deduction out in smaller chunks over five or even 15-year periods — was that kind of provision. It didn’t start affecting the budget until 2022, but it helped the TCJA appear “deficit neutral” over the 10-year window used for legislative scoring.The delay wasn’t a technical necessity. It was a political tactic. Such moves are common in tax legislation. Phase-ins and delayed provisions let lawmakers game how the Congressional Budget Office (CBO) — Congress’ nonpartisan analyst of how bills impact budgets and deficits — scores legislation, pushing costs or revenue losses outside official forecasting windows.And so, on schedule in 2022, the change to Section 174 went into effect. Companies filed their 2022 tax returns under the new rules in early 2023. And suddenly, R&D wasn’t a full, immediate write-off anymore. The tax benefits of salaries for engineers, product and project managers, data scientists, and even some user experience and marketing staff — all of which had previously reduced taxable income in year one — now had to be spread out over five- or 15-year periods. To understand the impact, imagine a personal tax code change that allowed you to deduct 100% of your biggest source of expenses, and that becoming a 20% deduction. For cash-strapped companies, especially those not yet profitable, the result was a painful tax bill just as venture funding dried up and interest rates soared.AdvertisementSalesforce office buildings in San Francisco.Photo: Jason Henry/Bloomberg (Getty Images)It’s no coincidence that Meta announced its “Year of Efficiency” immediately after the Section 174 change took effect. Ditto Microsoft laying off 10,000 employees in January 2023 despite strong earnings, or Google parent Alphabet cutting 12,000 jobs around the same time.Amazon (AMZN) also laid off almost 30,000 people, with cuts focused not just on logistics but on Alexa and internal cloud tools — precisely the kinds of projects that would have once qualified as immediately deductible R&D. Salesforce (CRM) eliminated 10% of its staff, or 8,000 people, including entire product teams.In public, companies blamed bloat and AI. But inside boardrooms, spreadsheets were telling a quieter story. And MD&A notes — management’s notes on the numbers — buried deep in 10-K filings recorded the change, too. R&D had become more expensive to carry. Headcount, the leading R&D expense across the tech industry, was the easiest thing to cut.AdvertisementIn its 2023 annual report, Meta described salaries as its single biggest R&D expense. Between the first and second years that the Section 174 change began affecting tax returns, Meta cut its total workforce by almost 25%. Over the same period, Microsoft reduced its global headcount by about 7%, with cuts concentrated in product-facing, engineering-heavy roles.Smaller companies without the fortress-like balance sheets of Big Tech have arguably been hit even harder. Twilio (TWLO) slashed 22% of its workforce in 2023 alone. Shopify (SHOP) (headquartered in Canada but with much of its R&D teams in the U.S.) cut almost 30% of staff in 2022 and 2023. Coinbase (COIN) reduced headcount by 36% across a pair of brutal restructuring waves.Since going into effect, the provision has hit at the very heart of America’s economic growth engine: the tech sector.By market cap, tech giants dominate the S&P 500, with the “Magnificent 7” alone accounting for more than a third of the index’s total value. Workforce numbers tell a similar story, with tech employing millions of Americans directly and supporting the employment of tens of millions more. As measured by GDP, capital-T tech contributes about 10% of national output.AdvertisementIt’s not just that tech layoffs were large, it’s that they were massively disproportionate. Across the broader U.S. economy, job cuts hovered around in low single digits across most sectors. But in tech, entire divisions vanished, with a whopping 60% jump in layoffs between 2022 and 2023. Some cuts reflected real inefficiencies — a response to over-hiring during the zero-interest rate boom. At the same time, many of the roles eliminated were in R&D, product, and engineering, precisely the kind of functions that had once benefitted from generous tax treatment under Section 174.Throughout the 2010s, a broad swath of startups, direct-to-consumer brands, and internet-first firms — basically every company you recognize from Instagram or Facebook ads — built their growth models around a kind of engineered break-even.The tax code allowed them to spend aggressively on product and engineering, then write it all off as R&D, keeping their taxable income close to zero by design. It worked because taxable income and actual cash flow were often notGAAP accounting practices. Basically, as long as spending counted as R&D, companies could report losses to investors while owing almost nothing to the IRS.But the Section 174 change broke that model. Once those same expenses had to be spread out, or amortized, over multiple years, the tax shield vanished. Companies that were still burning cash suddenly looked profitable on paper, triggering real tax bills on imaginary gains.AdvertisementThe logic that once fueled a generation of digital-first growth collapsed overnight.So it wasn’t just tech experiencing effects. From 1954 until 2022, the U.S. tax code had encouraged businesses of all stripes to behave like tech companies. From retail to logistics, healthcare to media, if firms built internal tools, customized a software stack, or invested in business intelligence and data-driven product development, they could expense those costs. The write-off incentivized in-house builds and fast growth well outside the capital-T tech sector. This lines up with OECD research showing that immediate deductions foster innovation more than spread-out ones.And American companies ran with that logic. According to government data, U.S. businesses reported about $500 billion in R&D expenditures in 2019 alone, and almost half of that came from industries outside traditional tech. The Bureau of Economic Analysis estimates that this sector, the broader digital economy, accounts for another 10% of GDP.Add that to core tech’s contribution, and the Section 174 shift has likely touched at least 20% of the U.S. economy.AdvertisementThe result? A tax policy aimed at raising short-term revenue effectively hid a time bomb inside the growth engines of thousands of companies. And when it detonated, it kneecapped the incentive for hiring American engineers or investing in American-made tech and digital products.It made building tech companies in America look irrational on a spreadsheet.A bipartisan group of lawmakers is pushing to repeal the Section 174 change, with business groups, CFOs, crypto executives, and venture capitalists lobbying hard for retroactive relief. But the politics are messy. Fixing 174 would mean handing a tax break to the same companies many voters in both parties see as symbols of corporate excess. Any repeal would also come too late for the hundreds of thousands of workers already laid off.And of course, the losses don’t stop at Meta’s or Google’s campus gates. They ripple out. When high-paid tech workers disappear, so do the lunch orders. The house tours. The contract gigs. The spending habits that sustain entire urban economies and thousands of other jobs. Sandwich artists. Rideshare drivers. Realtors. Personal trainers. House cleaners. In tech-heavy cities, the fallout runs deep — and it’s still unfolding.AdvertisementWashington is now poised to pass a second Trump tax bill — one packed with more obscure provisions, more delayed impacts, more quiet redistribution. And it comes as analysts are only just beginning to understand the real-world effects of the last round.The Section 174 change “significantly increased the tax burden on companies investing in innovation, potentially stifling economic growth and reducing the United States’ competitiveness on the global stage,” according to the tax consulting firm KBKG. Whether the U.S. will reverse course — or simply adapt to a new normal — remains to be seen.

Emerging technologies boost Great Wall tourism in Hebei coastal city  bastillepost.com

The tower takes shape as two sets of overlapping cylinders, clad with prefabricated panels intended to evoke clouds. PROJECT The Butterfly + First Baptist Church Complex ARCHITECT Revery Architecture PHOTOS Ema Peter When you fly into Vancouver, the most prominent structure in the city’s forest of glass skyscrapers is now a 57-storey edifice known as the Butterfly. Designed by Revery Architecture, the luxury residential tower is the latest in a string of high-rises that pop out of the city’s backdrop of generic window-wall façades.  The Butterfly’s striking form evolved over many years, beginning with studies dating back to 2012. Revery principal Venelin Kokalov imagined several options, most of them suggesting a distinct pair of architectural forms in dialogue. Renderings and models of the early concepts relay a wealth of imagination that is sorely missing from much of the city’s contemporary architecture, as land economics, zoning issues, and the profit motive often compel a default into generic glass-and-steel towers. The earliest concepts look starkly different—some evoke the Ginger and Fred building in Prague (Frank Gehry with Vlado Milunić, 1996); others the Absolute Towers in Mississauga (MAD with Burka Varacalli Architects, 2009). But one consistent theme runs through the design evolution: a sense of two Rilkean solitudes, touching.  On each floor, semi-private sky gardens offer an outdoor place for residents to socialize. Client feedback, engineering studies, and simple pragmatics led to the final form: two sets of overlapping cylinders linked by a common breezeway and flanked by a rental apartment on one side and a restored church doubling as a community centre on the other. The contours of the floorplan are visually organic: evocative of human cells dividing. The roundness of the main massing is complemented by curvilinear balustrades that smoothly transform into the outer walls of each unit. It’s an eye-catching counterpoint to the orthogonality of the city’s built landscape. The two adjacent buildings—built, restored, and expanded as part of a density bonus arrangement with the city—help integrate this gargantuan structure with the lower-rise neighbourhood around it.  The Butterfly is a high-end, high-priced residential tower—one of the few typologies in which clients and communities are now willing to invest big money and resources in creative, visually astonishing architecture. That leads to a fundamental question: what is the public purpose of a luxury condo tower?  A public galleria joins the renovated First Baptist Church to the new building. Serving as a welcoming atrium, it allows for community access to the expanded church, including its daycare, full gymnasium, multi-purpose rooms, overnight emergency shelter, and community dining hall equipped with a commercial kitchen. Whatever one feels about the widening divide between the haves and have-nots in our big cities, this building—like its ilk—does serve several important public purposes. The most direct and quantifiable benefits are the two flanking buildings, also designed by Revery and part of the larger project. The seven-storey rental apartment provides a modest contribution to the city’s dearth of mid-priced housing. The superbly restored and seismically upgraded First Baptist Church has expanded into the area between the new tower and original church, and now offers the public a wider array of programming including a gymnasium, childcare facility, and areas for emergency shelter and counselling services for individuals in need.  The church’s Pinder Hall has been reimagined as a venue for church and community events including concerts, weddings, and cultural programming. The Butterfly’s character is largely defined by undulating precast concrete panels that wrap around the building. The architects describe the swooping lines as being inspired by clouds, but for this writer, the Butterfly evokes a 57-layer frosted cake towering above the city’s boxy skyline. Kokalov winces when he hears that impression, but it’s meant as a sincere compliment. Clouds are not universally welcome, but who doesn’t like cake?  Kokalov argues that its experiential quality is the building’s greatest distinction—most notably, the incorporation of an “outdoors”—not a balcony or deck, but an actual outdoor pathway—at all residential levels. For years the lead form-maker at Bing Thom Architects, Kokalov was responsible for much of the curvilinearity in the firm’s later works, including the 2019 Xiqu Centre opera house in Hong Kong. It’s easy to assume that his forte and focus would be pure aesthetic delight, but he avers that every sinuous curve has a practical rationale.  The breezeways provide residents with outdoor entries to their units—an unusual attribute for high-rise towers—and contribute to natural cooling, ventilation, and daylight in the suites. Defying the local tower-on-podium formula, the building’s façade falls almost straight to the ground. At street level, the building is indented with huge parabolic concavities. It’s an abrupt way to meet the street, but the fall is visually “broken” by a publicly accessible courtyard.   The tower’s layered, undulating volume is echoed in a soaring residential lobby, which includes developer Westbank’s signature—a bespoke Fazioli grand piano designed by the building’s architect. After passing through this courtyard, you enter the building via the usual indoor luxe foyer—complete with developer Westbank’s signature, an over-the-top hand-built grand piano designed by the architect. In this case, the piano’s baroquely sculpted legs are right in keeping with the architecture. But after taking the elevator up to the designated floor, you step out into what is technically “outdoors” and walk to your front door in a brief but bracing open-air transition.  The main entrance of every unit is accessed via a breezeway that runs from one side of the building to another. Unglazed and open to the outside, each breezeway is marked at one end with what the architects call (a little ambitiously) a “sky garden,” in most cases consisting of a sapling that will grow into a leafy tree in due course, God and strata maintenance willing. This incorporation of nature and fresh air transforms the condominium units into something akin to townhouses, albeit stacked exceptionally high.  The suites feature a custom counter with a sculptural folded form. Inside each unit, the space can be expanded and contracted and reconfigured visually—not literally—by the fact that the interior wall of the secondary bedroom is completely transparent, floor to ceiling. It’s unusual, and slightly unnerving, but undeniably exciting for any occupants who wish to maximize their views to the mountains and sea. The curved glass wall transforms the room into a private enclave by means of a curtain, futuristically activated by remote control. The visual delight of swooping curves is only tempered when it’s wholly impractical—the offender here being a massive built-in counter that serves to both anchor and divide the living-kitchen areas. It reads as a long, pliable slab that is “folded” into the middle in such a way that the counter itself transforms into its own horseshoe-shaped base, creating a narrow crevice in the middle of the countertop. I marvel at its beauty and uniqueness; I weep for whoever is assigned to clean out the crumbs and other culinary flotsam that will fall into that crevice.  A structure made of high-performance modular precast concrete structural ribs arcs over a swimming pool that bridges between the building’s main amenity space and the podium roof. The building’s high-priced architecture may well bring more to the table than density-bonus amenities. On a broader scale, these luxe dwellings may be just what is needed to help lure the affluent from their mansions. As wealthy residents and investors continue to seek out land-hogging detached homes, the Butterfly offers an alternate concept that maintains the psychological benefit of a dedicated outside entrance and an outrageously flexible interior space. Further over-the-top amenities add to the appeal. Prominent among these is a supremely gorgeous residents-only swimming pool, housed within ribs of concrete columns that curve and dovetail into beams.   The ultimate public purpose for the architecturally spectacular condo tower: its role as public art in the city. The units in any of these buildings are the private side of architecture’s Janus face, but its presence in the skyline and on the street is highly public. By contributing a newly striking visual ballast, the Butterfly has served its purpose as one of the age-old Seven Arts: defining a location, a community, and an era. Adele Weder is a contributing editor to Canadian Architect. Screenshot CLIENT Westbank Corporation, First Baptist Church | ARCHITECT TEAM Venelin Kokalov (MRAIC), Bing Thom (FRAIC, deceased 2016), Amirali Javidan, Nicole Hu, Shinobu Homma MRAIC, Bibi Fehr, Culum Osborne, Dustin Yee, Cody Loeffen, Kailey O’Farrell, Mark Melnichuk, Andrea Flynn, Jennifer Zhang, Daniel Gasser, Zhuoli Yang, Lisa Potopsingh | STRUCTURAL Glotman Simpson | MECHANICAL Introba | ELECTRICAL Nemetz & Associates, Inc. | LANDSCAPE SWA Group (Design) w/ Cornelia Oberlander & G|ALA – Gauthier & Associates Landscape Architecture, Inc. (Landscape Architect of Record) | INTERIORS Revery Architecture | CONTRACTOR Icon West Construction (new construction); The Haebler Group (heritage) | LIGHTING ARUP (Design) & Nemetz (Engineer of Record) | SUSTAINABILITY & ENERGY MODELlING Introba | BUILDING ENVELOPE RDH Building Science, Inc. | HERITAGE CONSERVATION Donald Luxton & Associates, Inc.| ACOUSTICS BKL Consultants Ltd. | TRAFFIC Bunt & Associates, Inc. | POOL Rockingham Pool Consulting, Inc. | FOUNTAIN Vincent Helton & Associates | WIND Gradient Wind Engineering, Inc. | WASTE CONSULTANT Target Zero Waste Consulting, Inc. | AREA 56,206 M2 | BUDGET Withheld | COMPLETION Spring 2025 ENERGY USE INTENSITY (PROJECTED) 106 kWh/m2/year | WATER USE INTENSITY (PROJECTED) 0.72 m3/m2/year As appeared in the June 2025 issue of Canadian Architect magazine The post The Butterfly takes flight: The Butterfly, Vancouver, BC appeared first on Canadian Architect.

Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop [on Tiny Desk],” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artists [to help] breathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “[Our] audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 

What we've been playing - co-op adventures and unfolding ideas A few of the things that have us hooked this week. Image credit: FromSoftware Feature by Robert Purchese Associate Editor Additional contributions by Christian Donlan, and Ed Nightingale Published on May 31, 2025 31st May Hello and welcome back to our regular feature where we write a little bit about some of the games we've been playing. This week Bertie has mixed feelings about Split Fiction, Ed discovers he really likes Elden Ring Nightreign but wants more from it after the campaign, and Donlan appreciates a game unfolding before him. What have you been playing? Catch up with the older editions of this column in our What We've Been Playing archive. Split Fiction, PS5 Split Fiction. I'd quite like to read a dual-perspective fantasy and sci-fi story, actually. Wait, did I just describe Star Wars?Watch on YouTube I've been eager to try this for a while. I was fond of It Takes Two and the reception around Split Fiction has been enormously enthusiastic. Also, I love that there's a studio like Hazelight dedicating itself to making co-op games - not just games that can be played in co-op but games that require it. It's weird that it should be an unusual thing these days, but it is and I'm totally here for it. I like it - I like the game. In parts, I love it, and I think I'd expected this reaction more. The parts I love: its fluidity. This is a colder, technical thing to praise, but it makes the game so invitingly touchable and toylike because of the way it responds and moves. Big tick. Two: the set-up for the game works superbly in that having two writers' stolen stories to choose from, Hazelight gives itself a potentially bottomless source of ideas to hop between without lingering in one for too long. It's perfectly fine for one world to contain only one idea, which many of them do. And who doesn't want to play on a level where you surf around on a sand shark? But what I struggle with also relates to this. There's a thinness, sometimes, to the game; a feeling that ideas are cycled through so quickly they're not given enough time - or developer investment - to breathe or be developed as fully as they could. You kind of skim through them and it can lead to repetitiveness as the game bumps back into ideas it's already used, or a sense of pointlessness as it scrambles to come up with ideas it hasn't used before. Look, overall, brilliant: it's a joyous collection of co-op ideas delivered with tip-top technical nous, and not a small amount of charm and style. But I'm waiting for it - and really willing it - to take off. -Bertie Elden Ring Nightreign, PS5 All aboard the Souls train!Watch on YouTube I've been having a very Soulsy time of it recently. Last week I wrote about how Sekiro was causing me existential fury, and I'm pleased to say I broke through that to finally beat the game and see the credits, and that I don't have to play it any more. In its place, I've been playing another tricky game: FromSoftware's new Elden Ring spin-off Nightreign. Go it alone and it's one of the studio's most challenging games; but with others it's an exhilarating experience, as I wrote in our review. And despite finishing the game for the review, I still want to carry on playing it. I still haven't mastered each of the eight Nightfarers and I'm keen to play it more with friends now it's officially been released. But I do feel the game has finite appeal. Once the Nightfarers are beaten and all the character stories have been completed, Nightreign - as much as I loved it - doesn't have the replayability other multiplayer games do. Yet what FromSoftware has created is so heavily structured, it could easily add more building blocks to extend the game. There's DLC on the way at least but there's potential for a full live-service game of seasonal events on its map, with additional bosses and characters and costumes. It doesn't have to be a free-to-play, microtransaction mess, but just give it some regular support. Nightreign is something I'd happily play for months if it was regularly refreshed. Of course, this would likely be at the expense of whatever big new single-player game Miyazaki is working towards, and there's still The Duskbloods coming to Switch 2 next year to satisfy any lingering multiplayer desires. At the least, I love that FromSoftware has the capability and flexibility to experiment with this sort of spin-off. It might not be to everyone's taste, but it's left me wanting more. -Ed Öoo, PC Öoo. What does that mean in ghost speak I wonder?Watch on YouTube Here's the latest game by the creator of ElecHead, that brilliant and ingenious blend of puzzling and platforming. ElecHead was all about electricity. This time it's all about bombs. At least in the current Steam demo it is. You're a caterpillar who can create bombs, and those bombs? Early on they can send you shooting upwards to catch high ledges. But maybe they can shunt you across gaps too? Uh-oh, what do you do when the walls and ceilings have spikes, and what do you do when there's a big frog blocking your path? The pleasure of a game like this is partly the sense of watching an idea unfold itself, as the designer slowly discovers all the possible consequences and wrinkles and inversions. It helps that the game looks so beautiful and dinky and strange, with those progress-blocking frogs, yes, but also walls that seem to have the folds of brain tissue. I am playing the demo very happily and I suspect I'll replay it many times before the final game is out. It's lovely to be at the start of something like this, where the ideas are new, but the contours of thought behind it all seem to be warmly familiar. -Donlan

Seven days It's basically good in all possible ways I guess you could say I "yearn for the mines" now Jim Norman, Staff Writer The weather is looking good this weekend and next week promises a lot of gaming, so I'm planning to take it easy on the playtime front. Old Skies has got me back on a point-and-click hit, and I have some train journeys to make, so I might crack out Broken Sword: Shadow of the Templars on GBA to keep me going through the inevitable delays and jam-packed services. But otherwise, a bit of sun, a bit of BBQ, and a bit of constantly checking my bank account for confirmation that my Switch 2 payment has finally been taken. Ollie Reynolds, Staff Writer I’m still tinkering with The Hundred Line here and there, but I must admit that with the Switch 2 mere days away at this point, I’m spending a bit less time gaming in general at the moment; just to give myself a bit of breathing space before the avalanche hits. I read a lot though, so at the moment, I’ve got two books on the go: Michael Crichton’s Jurassic Park (via a stunning Folio Society edition I bought a while back) and The Road to Jonestown by Jeff Guinn on my Kindle. I find a nice combination of fiction and non-fiction is the way to go most of the time! Have a good one, folks. Subscribe to Nintendo Life on YouTube814kWatch on YouTube Gonçalo Lopes, Contributor It really happened last weekend: Closure for a story that was left unfinished a decade ago. Xenoblade Chronicles X: Definitive Edition is most certainly one of my desert island games, and the possibility of a proper sequel is just too sweet to ignore. After all, Monolith has been quietly working on something these past years, right? My physical Mobile Suit Gundam SEED: Battle Destiny Remastered copy arrived, and since I never owned the game on Vita, this is all-new content for yours truly. Other physical copies arriving include the amazing Star Overdrive and the SEGA Dreamcast-fuelled extravaganza known as Capcom Fighting Collection 2. This could very well be the best Capcom compilation yet, my arcade stick will surely see a lot of action this weekend. My game of the week is… the waiting game! For these past few weeks, and to ensure that all goes smoothly on the 5th, I have executed my plan to the letter. The new TV is hooked up and ready for the arrival of the Switch 2. If my next week’s entry is just me pasting “Mario Kart World!!!” repeatedly, you will know it all worked out. Alana Hagues, Deputy Editor I caved in. I have Fantasy Life i: The Girl Who Steals Time ready to… steal my time. The Switch 2 version launching next week pushed me over the edge. Confession: I never played the 3DS game, so this will be my first taste of Fantasy Life, which honestly sounds like a combination of things made specifically for me. The other thing Fantasy Life will steal time from (probably) is Prince of Persia: The Lost Crown, which I’ve just started and I’m having a blast. If the weather is nice where you are, get out there, because next weekend, many of us will have a Switch 2 in hand, and sunshine is the last thing we’ll want. Enjoy! Subscribe to Nintendo Life on YouTube814kWatch on YouTube Kate Gray, Contributor I'm playing Fantasy Life i like my life depends on it. Which, in a way, it does. Because it's about Lives. Do you get it? DO YOU? DO YOUUUU???? On the opposite end of the cheerful/morose spectrum, I finished Expedition 33, but it's such a delightful game that I don't want to leave. Luckily, there's TONS of post-ending content to mop up like a greedy little child licking gravy off the plate, and a New Game+, although that's a significant investment when I have so many other games to play. However, I know that all the dialogue and scenes that baffled me in my first playthrough (and there are many) will gain new and horrifying meaning in a second playthrough, plus I'll get to keep all my hard-earned Pictos... ...but I really should get around to playing Hundred Line. Uchikoshi and Kodaka? Zero Escape and Danganronpa? It's a wonder I haven't played it yet. I love a murder game! Gavin Lane, Editor This time next week, Mario Kart World will be old news and we'll be bleary-eyed and knee-deep in Knockout Tours. So, before the excitement of a new console launch, I'm looking to chill the beans way, way down. As I have over the past few weeks, I'll be hitting 51 Clubhouse Games with the kids once more (I never realised how long games of Ludo could last), but I also intend to finally tuck into to Thank Goodness You're Here, a game I don't think the 4K output of the Switch 2 will improve. Have a great one, everyone - we'll speak again when the next generation has arrived. Subscribe to Nintendo Life on YouTube814kWatch on YouTube That's what we have planned for the weekend, but what about you? Let us know in the following poll which games you're planning on booting up over the next couple of days. What are you playing this weekend (31st May/1st Jun)? (43 votes) Related Games See Also

Villa Air / ARK-architectureSave this picture!© Bilel KhemakhemHouses•Tunis, Tunisia Architects: ARK-architecture Area Area of this architecture project Area:  1500 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bilel Khemakhem Manufacturers Brands with products used in this architecture project Manufacturers:  Trespa, Elements, QUICK-STEP, REVIGLASS, Saint Gobain Glass, Schüco, TOSHIBAMore SpecsLess Specs Save this picture! Text description provided by the architects. Villa Air is a distilled expression of contemporary architecture rooted in the Tunisian landscape. Set within a two-hectare plot in Morneg, this 1,500 m² residence unfolds as a meditative dialogue between built form and topography. The site, defined by its gentle slope and sweeping views, culminates in the striking silhouette of the Jbal Errsas mountain range—a natural horizon that anchors the architectural narrative. From the outset, the project embraces a central duality: the tension between gravitas and lightness, between groundedness and suspension. This dialectic, subtly embedded in the villa's name, structures the entire composition. Distributed across three levels, the house is articulated as a series of horizontal strata punctuated by bold cantilevers. These projections—remarkably slender at just 45 cm thick—embody both structural daring and environmental responsiveness, casting precise shadow lines that temper the Mediterranean sun.Save this picture!Save this picture!Save this picture!Rather than asserting dominance over the terrain, the architecture yields to it. The villa engages the land with measured restraint, allowing the natural contours to guide its form. A textured finish in earthy tones fosters chromatic continuity with the ground, while the massing cascades along the slope, suggesting a geological emergence rather than an architectural imposition. The principal façade distills the project's ethos: a calibrated composition of apertures that frames the landscape as a sequence of living tableaux. Each elevation is attuned to its orientation, choreographing a spatial experience that is both immersive and contemplative. Here, architecture acts not as a boundary, but as a lens.Save this picture!Materiality is approached with deliberate restraint. Pristine white volumes capture the shifting Mediterranean light, animating surfaces in a daily choreography of shadows. Travertine and timber introduce tactile warmth, while concrete elements — subtly tinted with sand pigments — ground the building in its context and enhance its material belonging. Internally, the spatial organization privileges continuity and flow. Circulations are not mere connectors, but choreographed transitions. Double-height volumes channel daylight deep into the core, while vertical pathways become elevated promenades offering ever-evolving perspectives of the surrounding landscape.Save this picture!Save this picture!Save this picture!The architecture explores a central paradox: the reconciliation of intimacy with openness, of enclosure with exposure. This tension is resolved through a refined gradation of thresholds, where interiors dissolve into terraces and open platforms, softening the boundaries between inside and out. Twin infinity pools extend the architectural geometry toward the horizon, amplifying the sensation of lightness and spatial suspension. Water and sky converge in a silent dialogue, completing the project's aspiration to exist not merely in the landscape but in symbiosis with it. Villa Air stands as a testament to a site-specific Mediterranean modernism — one that privileges clarity, precision, and sensory depth. More than a functional residence, it evokes a poetic condition of dwelling: a place where form, matter, and perception converge in quiet resonance.Save this picture! Project gallerySee allShow less About this officeARK-architectureOffice••• MaterialConcreteMaterials and TagsPublished on May 30, 2025Cite: "Villa Air / ARK-architecture" 30 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030593/villa-air-ark-architecture&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

Let’s start with one unambiguous fact: More children are diagnosed with autism today than in the early 1990s. According to a sweeping 2000 analysis by the Centers for Disease Control and Prevention, a range of 2–7 per 1,000, or roughly 0.5 percent of US children, were diagnosed with autism in the 1990s. That figure has risen to 1 in 35 kids, or roughly 3 percent.The apparent rapid increase caught the attention of people like Robert F. Kennedy Jr., who assumed that something had to be changing in the environment to drive it. In 2005, Kennedy, a lawyer and environmental activist at the time, authored an infamous essay in Rolling Stone that primarily placed the blame for the increased prevalence of autism on vaccines. (The article was retracted in 2011 as more studies debunked the vaccine-autism connection.) More recently, he has theorized that a mysterious toxin introduced in the late 1980s must be responsible. Now, as the nation’s top health official leading the Department of Health and Human Services, Kennedy has declared autism an “epidemic.” And, in April, he launched a massive federal effort to find the culprit for the rise in autism rates, calling for researchers to examine a range of suspects: chemicals, molds, vaccines, and perhaps even ultrasounds given to pregnant mothers. “Genes don’t cause epidemics. You need an environmental toxin,” Kennedy said in April when announcing his department’s new autism research project. He argued that too much money had been put into genetic research — “a dead end,” in his words — and his project would be a correction to focus on environmental causes. “That’s where we’re going to find an answer.”But according to many autism scientists I spoke to for this story, Kennedy is looking in exactly the wrong place. Three takeaways from this storyExperts say the increase in US autism rates is mostly explained by the expanding definitions of the condition, as well as more awareness and more screening for it.Scientists have identified hundreds of genes that are associated with autism, building a convincing case that genetics are the most important driver of autism’s development — not, as Health Secretary Robert F. Kennedy Jr. has argued, a single environmental toxin.Researchers fear Kennedy’s fixation on outside toxins could distract from genetic research that has facilitated the development of exciting new therapies that could help those with profound autism.Autism is a complex disorder with a range of manifestations that has long defied simple explanations, and it’s unlikely that we will ever identify a single “cause” of autism.But scientists have learned a lot in the past 50 years, including identifying some of the most important risk factors. They are not, as Kennedy suggests, out in our environment. They are written into our genetics. What appeared to be a massive increase in autism was actually a byproduct of better screening and more awareness. “The way the HHS secretary has been walking about his plans, his goals, he starts out with this basic assumption that nothing worthwhile has been done,” Helen Tager-Flusberg, a psychologist at Boston University who has worked with and studied children with autism for years, said. “Genes play a significant role. We know now that autism runs in families… There is no single underlying factor. Looking for that holy grail is not the best approach.”Doctors who treat children with autism often talk about how they wish they could provide easy answers to the families. The answers being uncovered through genetics research may not be simple per se, but they are answers supported by science.Kennedy is muddying the story, pledging to find a silver-bullet answer where likely none exists. It’s a false promise — one that could cause more anxiety and confusion for the very families Kennedy says he wants to help. Robert F. Kennedy Jr. speaks during a news conference at the Department of Health and Human Services in mid-April to discuss this agency’s efforts to determine the cause of autism. Alex Wong/Getty ImagesThe autism “epidemic” that wasn’tAutism was first described in 1911, and for many decades, researchers and clinicians confused the social challenges and language development difficulties common among those with the condition for a psychological issue. Some child therapists even blamed the condition on bad parenting. But in 1977, a study discovered that identical twins, who share all of their DNA, were much more likely to both be autistic than fraternal twins, who share no more DNA than ordinary siblings. It marked a major breakthrough in autism research, and pushed scientists to begin coalescing around a different theory: There was a biological factor.At the time, this was just a theory — scientists lacked the technology to prove those suspicions at the genetic level. And clinicians were also still trying to work out an even more fundamental question: What exactly was autism? For a long time, the criteria for diagnosing a person with autism was strictly based on speech development. But clinicians were increasingly observing children who could acquire basic language skills but still struggled with social communication — things like misunderstanding nonverbal cues or taking figurative language literally. Psychologists gradually broadened their definition of autism from a strict and narrow focus on language, culminating in a 2013 criteria that included a wide range of social and emotional symptoms with three subtypes — the autism spectrum disorder we’re familiar with today.Along the way, autism had evolved from a niche diagnosis for the severely impaired to something that encompassed far more children. It makes sense then, that as the broad criteria for autism expanded, more and more children would meet it, and autism rates would rise. That’s precisely what happened. And it means that the “epidemic” that Kennedy and other activists have been fixated on is mostly a diagnostic mirage. Historical autism data is spotty and subject to these same historical biases, but if you look at the prevalence of profound autism alone — those who need the highest levels of support — a clearer picture emerges. (There is an ongoing debate in the autism community about whether to use the terminology of “profound autism” or “high support needs” for those who have the most severe form of the condition.) In the ’80s and ’90s, low-support needs individuals would have been less likely to receive an autism diagnosis given the more restrictive criteria and less overall awareness of the disorder, meaning that people with severe autism likely represented most of the roughly 0.5 percent of children diagnosed with autism in the 1990s. (One large analysis from Atlanta examining data from 1996 found that 68 percent of kids ages 3 to 10 diagnosed with autism had an IQ below 70, the typical cutoff for intellectual disability.)By 2025, when about 3 percent of children are being diagnosed with autism, about one in four of those diagnosed are considered to have high-support needs autism, those with most severe manifestation of the condition. That would equal about 0.8 percent of all US children — which would be a fairly marginal increase from autism rates 30 years ago. Or look at it another way: In 2000, as many as 60 percent of the people being diagnosed with autism had an intellectual disability, one of the best indicators of high-support needs autism. In 2022, that percentage was less than 40 percent.As a recently published CDC report on autism prevalence among young children concluded, the increase in autism rates can largely be accounted for by stronger surveillance and more awareness among providers and parents, rather than a novel toxin or some other external factor driving an increase in cases.Other known risk factors — like more people now having babies later in their life, given that parental age is linked to a higher likelihood of autism — are more likely to be a factor than anything Kennedy is pointing at, experts say. “It’s very clear it’s not going to be one environmental toxin,” said Alison Singer, founder of the Autism Science Foundation and parent of a child with profound autism. “If there were a smoking gun, I think they would have found it.”While Kennedy has fixated on vaccines and environmental influences, scientists have gained more precision in mapping human genetics and identifying the biological mechanisms that appear to be a primary cause of autism. And that not only helps us understand why autism develops, but potentially puts long-elusive therapies within reach. It began with an accident in the 1990s. Steven Scherer, now director of the Center for Applied Genomics at the Hospital for Sick Children in Toronto, began his career in the late 1980s trying to identify the gene that caused cystic fibrosis — in collaboration with Francis Collins, who went on to lead the Human Genome Project that successfully sequenced all of the DNA in the human genome in the early 2000s. Scherer and Collins’s teams focused on chromosome 7, identified as a likely target by the primitive genetic research available at the time, a coincidence that would reorient Scherer’s career just a few years later, putting him on the trail of autism’s genetic roots.After four years, the researchers concluded that one gene within chromosome 7 caused cystic fibrosis. Soon after Scherer helped crack the code on cystic fibrosis in the mid-1990s, two parents from California called him: He was the world’s leading expert on chromosome 7, and recent tests had revealed that their children with autism had a problem within that particular chromosome.That very same week, Scherer says, he read the findings of a study by a group at Oxford University, which had looked at the chromosomes of families with two or more kids with autism. They, too, had identified problems within chromosome 7.“So I said, ‘Okay, we’re going to work on autism,’” Scherer told me. He helped coordinate a global research project, uniting his Canadian lab with the Oxford team and groups in the US to run a database that became the Autism Genome Project, still the world’s largest repository of genetic information of people with autism.They had a starting point — one chromosome — but a given chromosome contains hundreds of genes. And humans have, of course, 45 other chromosomes, any of which conceivably might play a role. So over the years, they collected DNA samples from thousands upon thousands of people with autism, sequenced their genes, and then searched for patterns. If the same gene is mutated or missing across a high percentage of autistic people, it goes on the list as potentially associated with the condition. Scientists discovered that autism has not one genetic factor, but many — further evidence that this is a condition of complex origin, in which multiple variables likely play a role in its development, rather than one caused by a single genetic error like sickle-cell anemia.Here is one way to think about how far we have come: Joseph Buxbaum, the director of the Seaver Autism Center for Research and Treatment at the Icahn School of Medicine at Mount Sinai in New York, entered autism genetics research 35 years ago. He recalls scientists being hopeful that they might identify a half dozen or so genes linked to autism.They have now found 500 genes — and Buxbaum told me he believed they might find a thousand before they are through. These genetic factors continue to prove their value in predicting the onset of autism: Scherer pointed to one recent study in which the researchers identified people who all shared a mutation in the SHANK3 gene, one of the first to be associated with autism, but who were otherwise unalike: They were not related and came from different demographic backgrounds. Nevertheless, they had all been diagnosed with autism.Researchers analyze the brain activity of a 14-year-old boy with autism as part of a University of California San Francisco study that involves intensive brain imaging of kids and their parents who have a rare chromosome disruption connected to autism. The study, the Simons Variation in Individuals Project, is a genetics-first approach to studying autism spectrum and related neurodevelopmental disorders. Michael Macor/San Francisco Chronicle via The Associated PressPrecisely how much genetics contributes to the development of autism remains the subject of ongoing study. By analyzing millions of children with autism and their parents for patterns in diagnoses, multiple studies have attributed about 80 percent of a person’s risk of developing autism to their inherited genetic factors. But of course 80 percent is not 100 percent. We don’t yet have the full picture of how or why autism develops. Among identical twins, for example, studies have found that in most cases, if one twin has high-support needs autism, the other does as well, affirming the genetic effect. But there are consistently a small minority of cases — 5 and 10 percent of twin pairs, Scherer told me — in which one twin has relatively low-support needs while the one requires a a high degree of support for their autism.Kennedy is not wholly incorrect to look at environmental factors — researchers theorize that autism may be the result of a complex interaction between a person’s genetics and something they experience in utero. Scientists in autism research are exploring the possible influence when, for example, a person’s mother develops maternal diabetes, high blood sugar that persists throughout pregnancy. And yet even if these other factors do play some role, the researchers I spoke to agree that genetics is, based on what we know now, far and away the most important driver.“We need to figure out how other types of genetics and also environmental factors affect autism’s development,” Scherer said. “There could be environmental changes…involved in some people, but it’s going to be based on their genetics and the pathways that lead them to be susceptible.”While the precise contours of Health Department’s new autism research project is still taking shape, Kennedy has that researchers at the National Institutes of Health will collect data from federal programs such as Medicare and Medicaid and somehow use that information to identify possible environmental exposures that lead to autism. He initially pledged results by September, a timeline that, as outside experts pointed out, may be too fast to allow for a thorough and thoughtful review of the research literature. Kennedy has since backed off on that deadline, promising some initial findings in the fall but with more to come next year.RFK Jr.’s autism commission research risks the accessibility of groundbreaking autism treatmentsIf Kennedy were serious about moving autism science forward, he would be talking more about genetics, not dismissing them. That’s because genetics is where all of the exciting drug development is currently happening.A biotech firm called Jaguar Gene Therapy has received FDA approval to conduct the first clinical trial of a gene therapy for autism, focused on SHANK3. The treatment, developed in part by one of Buxbaum’s colleagues, is a one-time injection that would replace a mutated or missing SHANK3 gene with a functional one. The hope is that the therapy would improve speech and other symptoms among people with high-needs autism who have also been diagnosed with a rare chromosomal deletion disorder called Phelan-McDermid syndrome; many people with this condition also have Autism spectrum disorder.The trial will begin this year with a few infant patients, 2 years old and younger, who have been diagnosed with autism. Jaguar eventually aims to test the therapy on adults over 18 with autism in the future. Patients are supposed to start enrolling this year in the trial, which is focused on first establishing the treatment’s safety; if it proves safe, another round of trials would start to rigorously evaluate its effectiveness.“This is the stuff that three or four years ago sounded like science fiction,” Singer said. “The conversation has really changed from Is this possible? to What are the best methods to do it? And that’s based on genetics.”Researchers at Mount Sinai have also experimented with delivering lithium to patients and seeing if it improves their SHANK3 function. Other gene therapies targeting other genes are in earlier stages of development. Some investigators are experimenting with CRISPR technology, the revolutionary new platform for gene editing, to target the problematic genes that correspond to the onset of autism.But these scientists fear that their work could be slowed by Kennedy’s insistence on hunting for environmental toxins, if federal dollars are instead shifted into his new project. They are already trying to subsist amid deep budget cuts across the many funding streams that support the institutions where they work. “Now we have this massive disruption where instead of doing really key experiments, people are worrying about paying their bills and laying off their staff and things,” Scherer said. “It’s horrible.” For the families of people with high-needs autism, Kennedy’s crusade has stirred conflicting emotions. Alison Singer, the leader of the Autism Science Foundation, is also the parent of a child with profound autism. When I spoke with her, I was struck by the bind that Kennedy’s rhetoric has put people like her and her family in. Singer told me profound autism has not received enough federal support in the past, as more emphasis was placed on individuals who have low support needs included in the expanding definitions of the disorder, and so she appreciates Kennedy giving voice to those families. She believes that he is sincerely empathetic toward their predicament and their feeling that the mainstream discussion about autism has for too long ignored their experiences in favor of patients with lower support needs. But she worries that his obsession with environmental factors will stymie the research that could yield breakthroughs for people like her child.“He feels for those families and genuinely wants to help them,” Singer said. “The problem is he is a data denier. You can’t be so entrenched in your beliefs that you can’t see the data right in front of you. That’s not science.”See More:

Le PDG de Salesforce, Marc Benioff, à Indianapolis, le 16 mai 2019. DARRON CUMMINGS / AP L’éditeur de logiciels américain Salesforce va racheter la société californienne Informatica pour quelque 8 milliards de dollars (7 milliards d’euros), afin de se renforcer dans l’intelligence artificielle (IA) dite agentique, a-t-il annoncé dans un communiqué, mardi 27 mai. Lire aussi | Article réservé à nos abonnés L’IA à l’heure des « agents », capables de surfer sur le Web ou de mener des actions En combinant les plateformes des deux sociétés, « nous permettrons aux agents autonomes de fournir des résultats plus intelligents, plus sûrs et plus évolutifs pour chaque entreprise et renforcerons significativement notre position sur le marché des données d’entreprises, évalué à plus de 150 milliards de dollars », a fait valoir Marc Benioff, le PDG de Salesforce. Informatica, spécialiste de la gestion de données alimentée par l’IA, compte environ 5 000 clients dans près de 100 pays. Opération finalisée en 2026 L’IA agentique permet de réaliser grâce à l’IA une tâche spécifique sous une supervision limitée. Après une année 2023 marquée par la course aux interfaces concurrentes de ChatGPT, les assistants IA ont gagné en capacités à « raisonner » et à accomplir des tâches en ligne au nom de l’utilisateur, devenant ainsi des « agents IA ». « Les agents d’IA réellement autonomes et dignes de confiance ont besoin de la compréhension la plus complète de leurs données. La combinaison des capacités avancées de catalogue et de métadonnées d’Informatica avec notre plateforme Agentforce offre exactement cela », a justifié Steve Fisher, directeur de la technologie de Salesforce. Dans le détail, Salesforce va racheter toutes les actions d’Informatica pour environ 8 milliards de dollars, à raison de 25 dollars (22 euros) par action. L’opération devrait être finalisée au cours du premier semestre 2026. Dans les échanges électroniques avant l’ouverture de la Bourse de New York, le titre de Salesforce gagnait 1,1 % aux alentours de 12 h 30. Lire aussi | Article réservé à nos abonnés Pourquoi les entreprises se ruent sur les IA conversationnelles Le Monde avec AFP Réutiliser ce contenu