html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" 19 shortlisted projects for the 2025 Award cycle were revealed by the Aga Khan Award for Architecture (AKAA). A portion of the $1 million prize, one of the biggest in architecture, will be awarded to the winning proposals. Out of the 369 projects nominated for the 16th Award Cycle (2023-2025), an independent Master Jury chose the 19 shortlisted projects from 15 countries.The nine members of the Master Jury for the 16th Award cycle include Azra Akšamija, Noura Al-Sayeh Holtrop, Lucia Allais, David Basulto, Yvonne Farrell, Kabage Karanja, Yacouba Konaté, Hassan Radoine, and Mun Summ Wong.His Late Highness Prince Karim Aga Khan IV created the Aga Khan Award for Architecture in 1977 to recognize and promote architectural ideas that effectively meet the needs and goals of communities where Muslims are a major population. Nearly 10,000 construction projects have been documented since the award's inception 48 years ago, and 128 projects have been granted it. The AKAA's selection method places a strong emphasis on architecture that stimulates and responds to people's cultural ambitions in addition to meeting their physical, social, and economic demands.The Aga Khan Award for Architecture is governed by a Steering Committee chaired by His Highness the Aga Khan. The other members of the Steering Committee are Meisa Batayneh, Principal Architect, Founder, maisam architects and engineers, Amman, Jordan; Souleymane Bachir Diagne, Professor of Philosophy and Francophone Studies, Columbia University, New York, United States of America; Lesley Lokko, Founder & Director, African Futures Institute, Accra, Ghana; Gülru Necipoğlu, Director and Professor, Aga Khan Program for Islamic Architecture, Harvard University, Cambridge, United States of America; Hashim Sarkis, Founder & Principal, Hashim Sarkis Studios (HSS); Dean, School of Architecture and Planning, Massachusetts Institute of Technology, Cambridge, United States of America; and Sarah M. Whiting, Partner, WW Architecture; Dean and Josep Lluís Sert Professor of Architecture, Graduate School of Design, Harvard University, Cambridge, United States of America. Farrokh Derakhshani is the Director of the Award.Examples of outstanding architecture in the areas of modern design, social housing, community development and enhancement, historic preservation, reuse and area conservation, landscape design, and environmental enhancement are recognized by the Aga Khan Award for Architecture.Building plans that creatively utilize local resources and relevant technologies, as well as initiatives that could spur such initiatives abroad, are given special consideration. It should be mentioned that in addition to honoring architects, the Award also recognizes towns, builders, clients, master craftspeople, and engineers who have contributed significantly to the project.Projects had to be completed between January 1, 2018, and December 31, 2023, and they had to have been operational for a minimum of one year in order to be eligible for consideration in the 2025 Award cycle. The Award is not available for projects that His Highness the Aga Khan or any of the Aga Khan Development Network (AKDN) institutions have commissioned.See the 19 shortlisted projects with their short project descriptions competing for the 2025 Award Cycle:Khudi Bari. Image © Aga Khan Trust for Culture / City Syntax (F. M. Faruque Abdullah Shawon, H. M. Fozla Rabby Apurbo)BangladeshKhudi Bari, in various locations, by Marina Tabassum ArchitectsMarina Tabassum Architects' Khudi Bari, which can be readily disassembled and reassembled to suit the needs of the users, is a replicable solution for displaced communities impacted by geographic and climatic changes.West Wusutu Village Community Centre. Image © Aga Khan Trust for Culture / Dou Yujun (photographer)ChinaWest Wusutu Village Community Centre, Hohhot, Inner Mongolia, by Zhang PengjuIn addition to meeting the religious demands of the local Hui Muslims, Zhang Pengju's West Wusutu Village Community Centre in Hohhot, Inner Mongolia, offers social and cultural spaces for locals and artists. Constructed from recycled bricks, it features multipurpose indoor and outdoor areas that promote communal harmony.Revitalisation of Historic Esna. Image © Aga Khan Trust for Culture / Ahmed Salem (photographer)EgyptRevitalisation of Historic Esna, by Takween Integrated Community DevelopmentBy using physical interventions, socioeconomic projects, and creative urban planning techniques, Takween Integrated Community Development's Revitalization of Historic Esna tackles the issues of cultural tourism in Upper Egypt and turns the once-forgotten area around the Temple of Khnum into a thriving historic city.The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaThe Arc at Green School, in Bali, by IBUKU / Elora HardyAfter 15 years of bamboo experimenting at the Green School Bali, IBUKU/Elora Hardy created The Arc at Green School. The Arc is a brand-new community wellness facility built on the foundations of a temporary gym. High-precision engineering and regional handicraft are combined in this construction.Islamic Centre Nurul Yaqin Mosque. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaIslamic Centre Nurul Yaqin Mosque, in Palu, Central Sulawesi, by Dave Orlando and Fandy GunawanDave Orlando and Fandy Gunawan built the Islamic Center Nurul Yaqin Mosque in Palu, Central Sulawesi, on the location of a previous mosque that was damaged by a 2018 tsunami. There is a place for worship and assembly at the new Islamic Center. Surrounded by a shallow reflecting pool that may be drained to make room for more guests, it is open to the countryside.Microlibrary Warak Kayu. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer)IndonesiaMicrolibraries in various cities, by SHAU / Daliana Suryawinata, Florian HeinzelmannFlorian Heinzelmann, the project's initiator, works with stakeholders at all levels to provide high-quality public spaces in a number of Indonesian parks and kampungs through microlibraries in different towns run by SHAU/Daliana Suryawinata. So far, six have been constructed, and by 2045, 100 are planned.Majara Residence. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranMajara Complex and Community Redevelopment, in Hormuz Island by ZAV Architects / Mohamadreza GhodousiThe Majara Complex and Community Redevelopment on Hormuz Island, designed by ZAV Architects and Mohamadreza Ghodousi, is well-known for its vibrant domes that offer eco-friendly lodging for visitors visiting Hormuz's distinctive scenery. In addition to providing new amenities for the islanders who visit to socialize, pray, or utilize the library, it was constructed by highly trained local laborers.Jahad Metro Plaza. Image © Aga Khan Trust for Culture / Deed Studio (photographer)IranJahad Metro Plaza in Tehran, by KA Architecture StudioKA Architecture Studio's Jahad Metro Plaza in Tehran was constructed to replace the dilapidated old buildings. It turned the location into a beloved pedestrian-friendly landmark. The arched vaults, which are covered in locally manufactured brick, vary in height to let air and light into the area they are protecting.Khan Jaljulia Restoration. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)IsraelKhan Jaljulia Restoration in Jaljulia by Elias KhuriElias Khuri's Khan Jaljulia Restoration is a cost-effective intervention set amidst the remnants of a 14th-century Khan in Jaljulia. By converting the abandoned historical location into a bustling public area for social gatherings, it helps the locals rediscover their cultural history.Campus Startup Lions. Image © Aga Khan Trust for Culture / Christopher Wilton-Steer (photographer)KenyaCampus Startup Lions, in Turkana by Kéré ArchitectsKéré Architecture's Campus Startup Lions in Turkana is an educational and entrepreneurial center that offers a venue for community involvement, business incubation, and technology-driven education. The design incorporates solar energy, rainwater harvesting, and tall ventilation towers that resemble the nearby termite mounds, and it was constructed using local volcanic stone.Lalla Yeddouna Square. Image © Aga Khan Trust for Culture / Amine Houari (photographer)MoroccoRevitalisation of Lalla Yeddouna Square in the medina of Fez, by Mossessian Architecture and Yassir Khalil StudioMossessian Architecture and Yassir Khalil Studio's revitalization of Lalla Yeddouna Square in the Fez medina aims to improve pedestrian circulation and reestablish a connection to the waterfront. For the benefit of locals, craftspeople, and tourists from around the globe, existing buildings were maintained and new areas created.Vision Pakistan. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanVision Pakistan, in Islamabad by DB Studios / Mohammad Saifullah SiddiquiA tailoring training center run by Vision Pakistan, a nonprofit organization dedicated to empowering underprivileged adolescents, is located in Islamabad by DB Studios/Mohammad Saifullah Siddiqui. Situated in a crowded neighborhood, this multi-story building features flashy jaalis influenced by Arab and Pakistani crafts, echoing the city's 1960s design.Denso Hall Rahguzar Project. Image © Aga Khan Trust for Culture / Usman Saqib Zuberi (photographer)PakistanDenso Hall Rahguzar Project, in Karachi by Heritage Foundation Pakistan / Yasmeen LariThe Heritage Foundation of Pakistan/Yasmeen Lari's Denso Hall Rahguzar Project in Karachi is a heritage-led eco-urban enclave that was built with low-carbon materials in response to the city's severe climate, which is prone to heat waves and floods. The freshly planted "forests" are irrigated by the handcrafted terracotta cobbles, which absorb rainfall and cool and purify the air.Wonder Cabinet. Image © Aga Khan Trust for Culture / Mikaela Burstow (photographer)PalestineWonder Cabinet, in Bethlehem by AAU AnastasThe architects at AAU Anastas established Wonder Cabinet, a multifunctional, nonprofit exhibition and production venue in Bethlehem. The three-story concrete building was constructed with the help of regional contractors and artisans, and it is quickly emerging as a major center for learning, design, craft, and innovation.The Ned. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)QatarThe Ned Hotel, in Doha by David Chipperfield ArchitectsThe Ministry of Interior was housed in the Ned Hotel in Doha, which was designed by David Chipperfield Architects. Its Middle Eastern brutalist building was meticulously transformed into a 90-room boutique hotel, thereby promoting architectural revitalization in the region.Shamalat Cultural Centre. Image © Aga Khan Trust for Culture / Hassan Al Shatti (photographer)Saudi ArabiaShamalat Cultural Centre, in Riyadh, by Syn Architects / Sara Alissa, Nojoud AlsudairiOn the outskirts of Diriyah, the Shamalat Cultural Centre in Riyadh was created by Syn Architects/Sara Alissa, Nojoud Alsudairi. It was created from an old mud home that artist Maha Malluh had renovated. The center, which aims to incorporate historic places into daily life, provides a sensitive viewpoint on heritage conservation in the area by contrasting the old and the contemporary.Rehabilitation and Extension of Dakar Railway Station. Image © Aga Khan Trust for Culture / Sylvain Cherkaoui (photographer)SenegalRehabilitation and Extension of Dakar Railway Station, in Dakar by Ga2DIn order to accommodate the passengers of a new express train line, Ga2D extended and renovated Dakar train Station, which purposefully contrasts the old and modern buildings. The forecourt was once again open to pedestrian traffic after vehicular traffic was limited to the rear of the property.Rami Library. Image © Aga Khan Trust for Culture / Cemal Emden (photographer)TürkiyeRami Library, by Han Tümertekin Design & ConsultancyThe largest library in Istanbul is the Rami Library, designed by Han Tümertekin Design & Consultancy. It occupied the former Rami Barracks, a sizable, single-story building with enormous volumes that was constructed in the eighteenth century. In order to accommodate new library operations while maintaining the structure's original spatial features, a minimal intervention method was used.Morocco Pavilion Expo Dubai 2020. Image © Aga Khan Trust for Culture / Deed Studio (photographer)United Arab EmiratesMorocco Pavilion Expo Dubai 2020, by Oualalou + ChoiOualalou + Choi's Morocco Pavilion Expo Dubai 2020 is intended to last beyond Expo 2020 and be transformed into a cultural center. The pavilion is a trailblazer in the development of large-scale rammed earth building techniques. Its use of passive cooling techniques, which minimize the need for mechanical air conditioning, earned it the gold LEED accreditation.At each project location, independent professionals such as architects, conservation specialists, planners, and structural engineers have conducted thorough evaluations of the nominated projects. This summer, the Master Jury convenes once more to analyze the on-site evaluations and choose the ultimate Award winners.The top image in the article: The Arc at Green School. Image © Aga Khan Trust for Culture / Andreas Perbowo Widityawan (photographer).> via Aga Khan Award for Architecture

Larry Fabbroni is an architect, strategic advisor, and Chief Innovation Officer for Practice of Architecture. Throughout his career, he has led efforts to reform studio culture and innovate practice. He earned his MBA from the University of Chicago’s Booth School of Business. In 2017, as leaders in the AIA’s Young Architects Forum (YAF), we led the launch of the Practice Innovation Lab (PIL) and hosted a symposium that imagined new architectural practice models. At that time, we already felt that practice innovation was overdue in a profession that has not seen scaled disruption to its business model in over a century. Today, we are confident that there has never been a more critical time for the profession to embrace innovation. Redefining Innovation Henley Hall: Institute for Energy Efficiency by KieranTimberlake, Santa Barbara, California | KieranTimberlake’s research expertise creates value beyond a baseline labor model.  Currently, artificial intelligence dominates strategy conversations, but just as we saw back in 2017, larger patterns prompt calls for innovation. Talent attraction is increasingly challenging, disruptive technology continues to emerge, and actors from outside our industry show growing interest in the space. While incremental innovation has long been a part of the profession, relatively few firms have adopted new practices that create value beyond a baseline labor model. Firms such as KieranTimberlake have shown that research expertise can do this. MASS Design has pioneered a mission-driven approach. BIG has taken on the role of architect-as-developer. Snøhetta houses a product design division. We could continue to list great firms that have pushed the boundaries of practice, but they represent exceptions that have yet to be recognized as new standards. Indeed, the confluence of those factors that led to the original PIL continues to make the case that the time for scaled innovation is now. A Melting Iceberg: Incremental Changes Depleting the Profession Powerhouse Telemark by Snøhetta, Vestfold og Telemark, Norway | Photo by Ivar Kvaal | Snøhetta houses a product design division, innovatively presenting a alternative business model for firms.  One of the dangers of operating in a slow-moving industry is that change is difficult to detect and even more challenging to comprehend. If an iceberg loses 1% of mass per year, it’s tough to take notice, but the end result is catastrophic. This is what is happening to our profession. For newcomers, if it feels like there are increasingly more attractive opportunities elsewhere, that’s because there are. For seasoned professionals, if it feels like it’s become more challenging to maintain the same levels of prosperity, that’s because it has. Less(er) Talent In some ways, the shift towards companies recognizing “talent” as their most excellent resource has bewildered architects: we have always relied on talent. However, the patterns of talent leaving our profession are concerning. We say “feel” because there is no significant data. We spoke to Kendall A. Nicholson, Senior Director of Research at the Association of Collegiate Schools of Architecture (ACSA), who confirmed that aggregated data on graduate placement does not exist. So we inquired about what placement looks like at several programs around the country. Omar Khan, Head of the Carnegie Mellon University School of Architecture, informed us that approximately 90% of students pursue a minor to expand their horizons, and that in 2022, nearly one in three graduates entered the tech sector. Khan stated that these opportunities aren’t just student-driven — large innovative companies increasingly seek the value that graduates of architecture schools will provide. This increasing difficulty in capturing the talent that architecture schools are producing results in a shrinking and diluted talent pool. For a profession so reliant on human resources, this presents extreme risk. Pay Gaps In an increasingly expensive world, we are not able to compete for the best talent with emerging industries. It’s easy to understand why a popular career pivot for architects has become UX design. Designing user experience for websites pays significantly better than designing the same for the built environment. According to Glassdoor, 2023 entry-level UX designers earned an average of $78K, while the AIA salary calculator suggests architecture grads can expect to earn an average of $59 K. The talent we do attract into the profession often loses interest when they experience low pay and long hours, all while most firms lack clear paths and criteria for advancement or compensation increases. A Smaller Piece of the Pie Examining data in isolation, one might conclude that the profession continues to grow; the number of architects has increased substantially over the last century, and this trend has persisted in recent years. The problem with this growth is that the estimated share of the US GDP for Architectural Services has shrunk over time. This is not a manageable number to measure before 1999, when NCARB first aggregated local jurisdictional data. Due to limitations in industry economic data, we’re only showing data since 2011 for the purposes of this article. In that time, the number of architects has grown, the market size for services has grown, but the share those services represent as a portion of the US GDP has declined — by 15% if we use US Census data to almost 30% if we use industry research data (we used IbisWorld.com, however we found data that suggested a worse and others that offered a slightly better picture). To put it another way, architecture is a stagnant industry with a shrinking share of the economy. It’s challenging to examine this data and emerge feeling confident about the profession, but there is a silver lining. The biggest impediment to innovation for architects is not a lack of talent, but rather the business model. Design thinking has been widely adopted throughout the world as a key component of innovation processes; however, the problem is that we operate in the realm of professional services, which inherently is not well-suited to promoting innovation. Reliance on that formula is causing our iceberg to melt. The Tsunami: The AI Tidal Wave is Here The Rwanda Institute for Conservation Agriculture by MASS Design Group, Rwanda | MASS Design has pioneered a mission-driven approach that creates value beyond a baseline labor model.  As we confront the exodus of talent, it is easy for both firm owners and clients to imagine AI bringing efficiencies and replacing “CAD-monkeys” with machines. However, any firm that wants to operate — and win — as anything more than a low-cost provider will need a strategy to increase value, not just cut costs. AI is merely part of the toolbox required to confront a perfect storm of forces. Jobs will Disappear Goldman Sachs predicts that as much as 37% of our industry tasks will be replaced by AI. Many see this as a pathway to lower costs and increased profits. However, that is short-sighted. Markets will adjust quickly and demand lower costs for services; additional new value will need to be articulated and proven, and this will only happen through innovation. New Jobs will Emerge (but fewer of them) AI prophets often emphasize that technological innovation has historically led to net employment gains. Previous World Economic Forum estimates predicted losses of up to 85 million existing jobs worldwide, with parallel gains of as many as 97 million new jobs. However, these estimates were revised in the WEF 2023 Economic Outlook, which now anticipates a net loss of 14 million jobs. This stark outlook signals an even greater need for architects to become more innovative. The 2024 RIBA AI Report indicates that 41% of architecture firms were already utilizing AI, though current tools are indeed just the beginning. Marketing, business development and content creation will be standard areas of AI deployment moving forward. Still, revolutionary changes will come in how we learn, not only to use new tools, but also to collaborate with digital agents. How will this happen? We can theorize, but it is not possible to know for sure until it arrives, so we need to have a plan before we can see the tidal wave from land. The Alien Invasion: Outsiders Are Entering Our Orbit VIA 57 West by BIG – Bjarke Ingels Group, New York City, New York | BIG has pioneered a new model for practice by taking on the role of architect-as-developer. For years, we’ve heard cries that “architects gave away the role of master builder.” But how much did architects actually give, and how much was taken by innovative competition? This distinction is critical because the wagons are circling, and the AEC space has become ever more attractive to investors. Venture Capital and Private Equity Investment The numbers are often difficult to parse because architecture can impact so many verticals and does not operate as its own sector in the investment realm; however, the trends suggest a groundswell is underway. A 2023 McKinsey report shows that construction tech deals nearly doubled from 2019 to 2022, growing by 85%. At the same period, the number of deals increased by 30%, indicating that interest continues to grow. An increasing size of deals also suggests a maturity of the market. As interest in infrastructure investments has declined from its high in 2020, and along with real estate, has been blunted by high interest rates, institutional investors continue to see opportunities in the AEC space. Firm Acquisitions AEC firms that deliver predictable returns have proven to be attractive targets for PE firms. In the second quarter of 2024, private equity firms accounted for over one-third of AEC firm mergers and acquisitions. For M&A deals, the industry has seen an increase in attractiveness with expanded infrastructure spending as a catalyst. However, this interest can also be tied to the lack of innovation that has resulted in an industry ripe for consolidation. M&A orchestrators generate large amounts of profit by streamlining operations, eliminating redundancies, and then stamping out competition. An entire community has been built around this, with AEC Advisors hosting an annual “Private Equity Summit” that brings together CEOs of AEC firms with PE investors. Startups As an extension of the growing interest from venture capital in the space, there is an upward trend in the AEC space being targeted for disruption by entrepreneurs who see an industry that represents a significant portion of the global GDP. AEC Works, a project of e-verse that catalogs AEC startups and investors, lists nearly 800 startups from around the world, with almost 200 identified as “architecture-focused.” The signal is clear: startups are looking to figure out how to do what you do cheaper, better, or perhaps both. Combining this environment with depleted talent pools, a declining share of GDP, and revolutionary technology, it is a correct response to be alarmed. Significant change is inevitable. It is time for architects to see the same opportunities that investors and entrepreneurs see, and learn to navigate within these spaces. The Great Opportunity Throughout history, new actors have enjoyed a “leap-frog” effect and been able to surpass established incumbents to reshape industries, markets and economies. From climate change to pandemic ripple effects, to the housing crisis, to generational shifts in the workforce, there are many forces that directly impact the work of architects and call for innovation. The need for new ways of designing and delivering different components of the built environment is ever-present and will be solved by teams that either include — and might be led by — architects, or those that do not. Most end users will only care if the resulting product is superior. This time of tension is indeed a time of great opportunity. Architects who embrace innovation in pursuing new iterations of our dated business models may actually achieve what many of us have dreamed of from the start: to leave a positive mark on the world. We think the future of the profession depends on it. Top image: Powerhouse Telemark by Snøhetta, Vestfold og Telemark, Norway The post Architects, Your Real Competition Isn’t AI — It’s Business Complacency appeared first on Journal.

News Earth Small earthquakes can have a big impact on the movements of major faults The little quakes can disrupt the growth of slow-slip events along megathrust faults Megathrust faults can generate some of Earth’s largest quakes. One example is the 2011 Tohoku earthquake, which rocked Japan and fomented a tsunami that devastated coastal areas, as shown. These same faults can also release immense amounts of seismic energy over days or weeks in harmless slow-slip events. enase/Getty Images By Nikk Ogasa 15 hours ago Seismic symphonies of minor earthquakes may affect grand movements on major faults. Small and distant earthquakes can disrupt the growth of slow-slip events — gradual fault movements that can release tremendous amounts of energy at gentle tempos, a new analysis of seismic data suggests. Reported in the May 16 Science Advances, the research shows that the more frequently small earthquakes occur near a fault’s slow-slip zone, the less synchronized the slipping becomes. Megathrust faults — massive fractures where one tectonic plate pushes under another — are notorious for hatching Earth’s most devastating temblors. These same faults can also slide steadily for days or weeks in slow-slip events while emitting faint vibrations called tectonic tremor. First identified around two decades ago, these softly humming events can shift stress on faults and may influence the timing of large, destructive earthquakes. But it’s not clear why these enigmatic events can grow for hundreds of kilometers along some faults while remaining restricted to small parts of others. Sign up for our newsletter We summarize the week's scientific breakthroughs every Thursday.

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.

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”

A new satellite has captured the first direct evidence of a mysterious nine-day seismic signal that shook the world in 2023.

Slayven Never read a comic in his life Moderator Oct 25, 2017 102,422 View: https://www.youtube.com/watch?v=s5lq4Q7YAjE The Asus ROG Ally handheld gaming PC is real, not an April Fools’ joke No fooling — but no specs or price, either. www.theverge.com The ROG Ally has a seven-inch 16:9 display with 1920 x 1080 resolution, 500 nits of brightness, and a 120HZ refresh rate, compared to the Steam Deck specs, which are listed as a seven-inch 16:10 display at 1280 x 800 resolution, 400 nits of brightness, and a 60Hz refresh rate. Click to expand... Click to shrink... I want more of these, but they need to think about adding alternative control interfaces built into the system. Maybenot a whole touch pad but maybe a nipple and some back buttons. Plus it is is ROG, you know it will cost 2 souls and a leg Dave2d Handheld View: https://www.youtube.com/watch?v=drLZxyv79Oo  Deleted member 93062 Account closed at user request Banned Mar 4, 2021 24,767 Seems like it'll be pricey as hell but I do like that it has a 16:9 display, Windows with good looking dashboard for all your launchers, and how quiet it is. I just want that eGPU connector, or something similar to it, on the next Steam Deck.   nsilvias Member Oct 25, 2017 30,169 >1080p rip battery life  Dangerman1337 Member Jul 2, 2021 3,187 United Kingdom, The Wirral, Hoylake Sullivan said: Seems like it'll be pricey as hell but I do like that it has a 16:9 display, Windows with good looking dashboard for all your launchers, and how quiet it is. I just want that eGPU connector, or something similar to it, on the next Steam Deck. Click to expand... Click to shrink... Dave2D says it's apparently very appealing price point. However my biggest question is the release date because we keep seeing these handhelds with no release dates and being kept shown at performance expos all the time. Sick and tired of that nonsense.  Deleted member 93062 Account closed at user request Banned Mar 4, 2021 24,767 nsilvias said: >1080p rip battery life Click to expand... Click to shrink... >1080p >120hz >500nits  OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,422 nsilvias said: >1080p rip battery life Click to expand... Click to shrink... 80s kids know   Deleted member 93062 Account closed at user request Banned Mar 4, 2021 24,767 Dangerman1337 said: Dave2D says it's apparently very appealing price point. However my biggest question is the release date because we keep seeing these handhelds with no release dates and being kept shown at performance expos all the time. Sick and tired of that nonsense. Click to expand... Click to shrink... Dave doesn't know the price point. He's just assuming because they said it would be available at Best Buy and that they don't do low volume products so ASUS expects it to sell well, which means it likely has an appealing price point. I don't know though...   jack. Member Oct 27, 2017 1,357 I'd rather have 720p and that d-pad looks like ass but otherwise, this thing seems like it could be pretty good.   OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,422 Dangerman1337 said: Dave2D says it's apparently very appealing price point. However my biggest question is the release date because we keep seeing these handhelds with no release dates and being kept shown at performance expos all the time. Sick and tired of that nonsense. Click to expand... Click to shrink... In the time you you typed this post 3 more models of the Aya neo has been announced   AuthenticM Son Altesse Sérénissime The Fallen Oct 25, 2017 35,186 I didn't know that ROG was an initialism. I've always pronounced it like an acronym. So I can install my GOG games on this?  Dangerman1337 Member Jul 2, 2021 3,187 United Kingdom, The Wirral, Hoylake Sullivan said: Dave doesn't know the price point. He's just assuming because they said it would be available at Best Buy and that they don't do low volume products so ASUS expects it to sell well, which means it likely has an appealing price point. I don't know though... Click to expand... Click to shrink... Asus apparently told Dave it. Slayven said: In the time you you typed this post 3 more models of the Aya neo has been announced Click to expand... Click to shrink... Heh :p.   Koukalaka Member Oct 28, 2017 10,405 Scotland 1080p and 120Hz just don't make sense on a gaming-focused handheld.   Biosnake Member Oct 25, 2017 14,335 show me more   Radogol Member Nov 9, 2017 384 So that's nine As?   OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,422 Koukalaka said: 1080p and 120Hz just don't make sense on a gaming-focused handheld. Click to expand... Click to shrink... Sounds like the stats for a endurance battery tester   Dinjoralo Member Oct 25, 2017 11,729 Windows, ick. I've used Armoury Crate enough on my PC to know that the software side of things, at least what's pre-installed on the device, is going to be ass. I don't get why everyone seems to hate the Deck having an 800p screen. That's turned out to be a lifesaver for me in some games with weird resolutions that can't scale to 720p or 1080p well, like Rainworld.  Busaiku Teyvat Traveler Member Oct 25, 2017 17,947 Ya, nothing matters until we know about battery and price.   neoak Member Oct 25, 2017 16,877 However, in our experience, they've relied on an AMD 6800U chipset instead of a custom design and generally lack the right combination of horsepower and efficiency that we want to see from handheld gaming machines. Click to expand... Click to shrink... I swear the Verge reporter doesn't understand how crippled is the Steam Deck CPU for having 4 cores only when CPU matters a ton more in low resolutions. AMD doesn't do custom unless you are going to buy millions, but then again, it's the iVerge.  neoak Member Oct 25, 2017 16,877 Koukalaka said: 1080p and 120Hz just don't make sense on a gaming-focused handheld. Click to expand... Click to shrink... I'd argue not in phones either but ¯\_(ツ)_/¯ And you are right, it's hard to get more than 60fps in recent titles even on 6800U with 45W TDP  Haloid1177 Member Oct 25, 2017 4,847 Dinjoralo said: Windows, ick. I've used Armoury Crate enough on my PC to know that the software side of things, at least what's pre-installed on the device, is going to be ass. I don't get why everyone seems to hate the Deck having an 800p screen. That's turned out to be a lifesaver for me in some games with weird resolutions that can't scale to 720p or 1080p well, like Rainworld. Click to expand... Click to shrink... Armoury Crate is a mess of a software but I will give it credit that it causes me way less issues than iCUE or the Lian Li fan/RGB controller.  OP OP Slayven Never read a comic in his life Moderator Oct 25, 2017 102,422 Dinjoralo said: Windows, ick. I've used Armoury Crate enough on my PC to know that the software side of things, at least what's pre-installed on the device, is going to be ass. I don't get why everyone seems to hate the Deck having an 800p screen. That's turned out to be a lifesaver for me in some games with weird resolutions that can't scale to 720p or 1080p well, like Rainworld. Click to expand... Click to shrink... You also squeeze out a bit more performance by turning down bigger games   Biosnake Member Oct 25, 2017 14,335 Keyser S The Fallen Oct 26, 2017 8,480 Do I pronounce this like Broccoli   neoak Member Oct 25, 2017 16,877 Keyser S said: Do I pronounce this like Broccoli Click to expand... Click to shrink... ROG is supposed to be spelled R.O.G.   cgpartlow Member Oct 27, 2017 3,476 Seattle, WA I prefer asymmetrical sticks on my controllers, but on handhelds where the sides are vertical straight up and down, they should not be offset due to where your thumbs land. The switch cramps my hand having to contort my thumb and rotate my hand to hit the sticks. It is better with and ergonomic attachment but it is not the most convenient.   bbg_g Member Jun 21, 2020 835 Looks interesting and I might bite depending on battery life and price. I'm a bit lukewarm on the steamdeck and still waiting to see what comes next.   Neoxon Spotlighting Black Excellence - Diversity Analyst Member Oct 25, 2017 93,547 Houston, TX Does this have a gyroscope like the Deck?   Mashing Member Oct 28, 2017 3,411 Haloid1177 said: Armoury Crate is a mess of a software but I will give it credit that it causes me way less issues than iCUE or the Lian Li fan/RGB controller. Click to expand... Click to shrink... I had to disable iCUE as it kept waking up my PC from power saving. I never really used it anyway so no big loss.  neoak Member Oct 25, 2017 16,877 ROG XG Mobile eGPU? That's interesting, seeing as Oculink on the Win Max 2 allows you to have only a 10% performance penalty vs a full desktop for external using PCIe Gen4 x4. This will make it interesting. Unfortunately Destiny 2 sucks ass on anything less than 10" >.<  Atolm Member Oct 25, 2017 6,154 120hz is actually great for games like Hollow Knight or Fight N Rage   BennyWhatever Member Oct 27, 2017 5,504 US Happy to eat crow on this, but I'd be very surprised if the starter model of this is < $800. Most of these handheld Windows devices are $1k+.   Cats_Schrodinger Member Oct 29, 2017 4,050 If the 120Hz display is VRR , that's a gamechanger. Framerates lower than 60 will benefit immensely. The Deck needs this too.   neoak Member Oct 25, 2017 16,877 Atolm said: 120hz is actually great for games like Hollow Knight or Fight N Rage Click to expand... Click to shrink... Actually, hadn't considered that. Very valid point.   Qwark Member Oct 27, 2017 10,263 I'm always down for more high-performance handhelds, that d-pad looks squishy as hell though. Lmao at the actor casually pulling the handheld out of his jacket pocket, those are some big pockets.  AmFreak Member Oct 26, 2017 3,220 It's like all these companies that are big enough to somewhat compete saw the Deck success and then made hand held. Logitech launches a $350 cloud one, Razer launches a $400 ARM one a year after the Deck and now Asus seems to think they have to one up the Deck everywhere (power, resolution, screen, OS) and will result in pricing themselves out of the market.   Charpunk Member Oct 25, 2017 12,555 Performance and cost will be interesting. Lack of touchpads is a bummer as that has been a great feature for the deck for me.   SaberVS7 Member Oct 25, 2017 6,750 Everyone's minds when they're playing AAAAAAAAA games on the handheld of the future   neoak Member Oct 25, 2017 16,877 Qwark said: I'm always down for more high-performance handhelds, that d-pad looks squishy as hell though. Lmao at the actor casually pulling the handheld out of his jacket pocket, those are some big pockets. Click to expand... Click to shrink... They had to one up this View: https://twitter.com/softwincn/status/1636605890429337600   topplehat Member Oct 27, 2017 1,083 Austin, TX These feel like a bunch of specs thrown at a wall - a screen like that will chew up battery in no time, and the hardware won't be there to back it up. This is what I really appreciated about the Steam Deck - it seemed thought out and that all the hardware was designed for a certain performance level.  Jon of the Wired Member Oct 25, 2017 397 It's good to see more products in this space, but I'm just never going to buy a PC handheld that doesn't have touchpads. It's frustrating that only Valve is making a handheld that can actually play the games I want to play.   Kline AVALANCHE Member Sep 15, 2022 524 Will come down to price of course. There's countless Windows handhelds around these days - many objectively better than the Deck, but none that can match it's price point. On that note, yes the 1080p screen is appealing for a handheld. I have a Deck, but I expressly use my Ayn Odin Lite for things like Game Pass, GFN, or even watching anime, because it can push double the pixels with ease. Then again, it's Android so it has battery for days.  Remeran Member Nov 27, 2018 4,129 Oh windows based, that mean native gamepass gaming? Hmm that might be interesting.   Pocky4Th3Win Member Oct 31, 2017 5,425 Minnesota I hope they support Steam OS as an alternative to Windows 11.   Deleted member 93062 Account closed at user request Banned Mar 4, 2021 24,767 Pocky4Th3Win said: I hope they support Steam OS as an alternative to Windows 11. Click to expand... Click to shrink... You could install SteamOS on it if you wanted I imagine.   DjDeathCool Member Oct 28, 2017 2,869 Bismarck, ND Koukalaka said: 1080p and 120Hz just don't make sense on a gaming-focused handheld. Click to expand... Click to shrink... I always want 120hz on any device that is capable of streaming gameplay. Moonlight at 120hz is *chef's kiss* neoak said: I'd argue not in phones either but ¯\_(ツ)_/¯ Click to expand... Click to shrink... General usage (scrolling) on a 120hz display feels much much nicer. It's one of those things you get used to and don't realize how nice it is until it's gone. It's not about gameplay. Lol.   Ada Member Nov 28, 2017 4,164 bad ergonomics - shallow grip, menu buttons out of reach. Single USB port! rocker dpad - why copy the 360s terrible dpad dual fans plus higher refresh/resolution/brightness screen - huge battery drain Windows instead of SteamOS - no suspend + license fee DOA   neoak Member Oct 25, 2017 16,877 DjDeathCool said: General usage (scrolling) on a 120hz display feels much much nicer. It's one of those things you get used to and don't realize how nice it is until it's gone. It's not about gameplay. Lol. Click to expand... Click to shrink... It's about battery life man. Never said it wasn't nice.   Tsunami561 Member Mar 7, 2023 5,383 This sounds like one of those other handhelds that are on paper way more powerfull than the deck but then is twice the price and the user experience sucks   toy_brain Member Nov 1, 2017 2,598 Looks interesting, and I'm always happy to see new entrants into this space, as it gives people more options. Specifically, if they are selling this in B&M retail stores, it'll open the market to people who aren't comfortable ordering a Steam Deck (for whatever reason), or getting a Chinese/HK manufactured device of unknown quality. (I have a GPD device and think its awesome) The resolution and refresh rates sound "ambitious", but if it's anything like the GPD I have, you'll be able to knock the refresh rate down to 40hz, and do the usual FSR resolution scaling to save on performance. I'd be surprised if a demanding game lasted more than 2 hours on a single charge though - that just seems to be the norm with the current tech, but its enough for a commute, or a long train journey if you are happy playing 2D stuff. As for it using windows, ehhh, It's the easiest way forward right now. Yes it takes a while to boot or come out of standby compared to SteamOS, and the UI kinda sucks on a small screen, but it has zero compatibility issues and allows every current launcher straight out of the box, so you get every advantage of a full PC with only a couple minor downsides. My only negative with what I've seen so far, is the size. It's only a shave smaller than the Steam Deck, which is already a chunky bugger. I'd have liked it to be more like the GPD Win 4. Oh well.  DjDeathCool Member Oct 28, 2017 2,869 Bismarck, ND neoak said: It's about battery life man. Never said it wasn't nice. Click to expand... Click to shrink... Adaptive refresh rate solves that issue and you can cap it if you don't like the energy cost. At least on mobiles, and assumedly for this device as well since you can do the same on Deck.  

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works. NASA explains why watching trees near volcanoes is literally the best thing to do Sayan Sen Neowin @ssc_combater007 · May 24, 2025 18:02 EDT Image by Ashar M via PexelsScientists have discovered that trees near volcanoes change color when a volcano is becoming more active. Now, NASA and the Smithsonian Institution are teaming up to track these changes from space. Before a volcanic eruption, magma rising underground releases gases like carbon dioxide and sulfur dioxide. Trees absorb the carbon dioxide, making their leaves greener and thicker. Scientists are using satellite images from NASA’s Landsat 8 to detect this greening, along with data from airborne instruments in the Airborne Validation Unified Experiment: Land to Ocean (AVUELO). “Volcano early warning systems exist,” said Florian Schwandner, chief of the Earth Science Division at NASA’s Ames Research Center. “The aim here is to make them better and make them earlier.” Volcanic eruptions are dangerous and unpredictable. About ten percent of the world’s population lives in areas that could be affected. People living close to volcanoes face risks like flying rock, ash clouds, and toxic gases. Even those farther away can experience mudslides or tsunamis caused by eruptions. Since eruptions can't be stopped, finding ways to predict them early is important for safety. Spotting volcanic activity from space isn’t easy. Scientists can track sulfur dioxide because it’s easier to detect, but volcanic carbon dioxide—the earliest sign of magma rising—is harder to measure. "A volcano emitting the modest amounts of carbon dioxide that might presage an eruption isn’t going to show up in satellite imagery," said volcanologist Robert Bogue of McGill University. Traditionally, researchers have had to travel to volcanoes to measure carbon dioxide directly. But with over 1,300 potentially active volcanoes worldwide, many are in remote, difficult-to-reach locations. Checking tree responses instead offers a simpler way to monitor volcanic activity. "The whole idea is to find something that we could measure instead of carbon dioxide directly," said Bogue. Nicole Guinn, a volcanologist at the University of Houston, used satellite images from Landsat 8, NASA’s Terra satellite, and ESA’s Sentinel-2 to study trees near Mount Etna in Sicily. Her research found a clear link between tree leaf color and volcanic carbon dioxide. To confirm the accuracy of satellite images, climate scientist Josh Fisher led a ground study in March 2025. His team measured carbon dioxide and collected leaf samples from trees near the Rincon de la Vieja volcano in Costa Rica. “Our research is a two-way interdisciplinary intersection between ecology and volcanology,” Fisher said. Tracking trees as volcano indicators has some limitations. Some volcanoes don’t have enough trees nearby, and environmental factors like weather and plant diseases can affect tree growth. But past success has shown the potential of this approach. In 2017, scientists upgraded sensors at Mayon volcano in the Philippines, detecting signs of an impending eruption. They recommended evacuations, and over 56,000 people were safely moved before the volcano erupted in January 2018. “There’s not one signal from volcanoes that’s a silver bullet," said Schwandner. "But it will be something that could change the game.” Source: NASA This article was generated with some help from AI and reviewed by an editor. Tags Report a problem with article Follow @NeowinFeed

Readers were annoyed to discover something galling: evidence that an author used AI, right in the middle of a novel.The novel, titled "Darkhollow Academy : Year 2," penned by author Lena McDonald, falls under a romance subgenre called "reverse harem," which conventionally follows a female protagonist with multiple male partners.But as eagle-eyed fans of the genre were irritated to discover, the author left glaringly obvious evidence of not only using an AI chatbot to write portions of the book — but also of a naked attempt to copy the style of a real fellow writer."I've rewritten the passage to align more with J. Bree's style, which features more tension, gritty undertones, and raw emotional subtext beneath the supernatural elements," a since-deleted passage in chapter three of the novel reads, as seen in screenshots posted to the ReverseHarem subreddit earlier this month.J. Bree is the human author of an internationally bestselling series of romance and fantasy novels.The instance is yet another illustration of how Amazon is being flooded with self-published AI slop, a trend that has been going on ever since the tech went mainstream a few years ago. It's a real problem for human authors, too, with AI-generated books drowning out their work in search results pages.In one particularly egregious example, author Jane Friedman discovered back in 2023 that roughly a dozen books were being sold on Amazon with her name on them.Understandably, the small ReverseHarem community on Reddit was outraged after McDonald was caught blatantly using AI to rip off the voice of a real author."I just about fell out of my chair when I read this!" wrote the user who shared the screenshots."I got the book to provide secondary confirmation that this is real," another user chimed in. "Which means everyone has now read part of the book, which qualifies for a Goodreads rating, and possibly even Amazon."Readers tore into the book in a storm of one-star reviews."This was written with generative AI, as is clear by the prompt that was left in the book before uploading to Amazon," one disgruntled reviewer wrote. "I will support authors in many, many ways, but generative AI is theft and it’s not a replacement for actual writing.""I would assume all of her other writing uses AI as well, as book 1 of this series released 1/24/25, book 2 on 3/13/25, and book 3 on 3/23/25," one GoodReads reviewer wrote. "That's faster than Steven King."A book reviewer account called Indie Book Spotlight put it a lot more bluntly in a Bluesky post."F**k you if you steal and copy authors’ works," the user wrote. "F**k you if you use gen ai and call yourself a writer. You’re an opportunist hack using a theft machine."McDonald's blunder is just the tip of the iceberg. Two other purported authors identified by Indie Book Spotlight were caught dabbling with generative AI to churn out novels.Earlier this year, a writer who goes by KC Crowne was also seemingly caught leaving ChatGPT prompts in the text of their work."Thought for 13 seconds," one passage of a book titled "Dark Obsession" on Amazon reads, as seen in screenshots posted to the RomanceBooks subreddit in January. "Certainly! Here's an enhanced version of your passage, making Elena more relatable and injecting additional humor while providing a brief, sexy description of Grigori."Crowne's Amazon page features a whopping 171 titles, each adorned with an AI-generated cover of topless, tattoo-covered men."International Bestselling Author and Amazon Top 8 US Bestseller," the author's bio reads.A third writer, who goes by Rania Faris, was also caught using an AI chatbot."This is already quite strong, but it can be tightened for a sharper and more striking delivery while maintaining the intensity and sardonic edge you're aiming for," reads a passage one Threads user discovered in a printed copy of Faris' book.Oddly enough, Crowne's novels are getting predominantly positive reviews on GoodReads, indicating they have found their niche, and readers may either not care or not be aware of the use of AI.Users on Bluesky were sharing theories as to why."Oh wow, I just caught up on the KC Crowne AI thing," award-winning Canadian author Krista Ball wrote in a post back in January. "So setting aside the AI prompt left in the book, I am amazed that this wasn't mentioned anywhere by the early readers, the street team, etc - which leads into my paranoid theory that a percentage of readers are just skim reading.""Remember back in the day when writing fast was like a good reputation builder?" she added. "Now it's sus as all hell."Neither McDonald nor Faris has publicly listed contact information. Crowne, at least, is taking accountability for the situation."Earlier this year, I made an honest mistake," Crowne wrote in an email to Futurism. "I accidentally uploaded the wrong draft file, which included an AI prompt. That error was entirely my responsibility, and that's why I made the tough decision to address it publicly."Crowne claimed that "while I occasionally use AI tools to brainstorm or get past writer’s block, every story I publish is fundamentally my own," saying that "I only use AI-assisted tools in ways that help me improve my craft while fully complying with the terms of service of publishing platforms, to the best of my ability."AI or not, Crowne has somehow published 171 novels over the last seven years.Whether the use of generative AI in self-published books on Amazon breaks any rules remains somewhat unclear. An Amazon spokesperson pointed us to the company's content guidelines, which govern "which books can be listed for sale, regardless of how the content was created."The guidelines have an entire subsection dedicated to the use of AI, which stipulates that "AI-assisted content" is permitted and sellers aren't even "required to disclose" its use. However, any "AI-generated images include cover and interior images and artwork" have to be labeled as such.The internet at large is also facing an existential threat in the shape of an AI slop tsunami. Do we really need to extend that trend to 300-page fantasy novels to read on the subway to work?Self-published authors who are trying to stand out in an already busy marketplace aren't hopeful."They bring down the reputation of those of us who don't touch AI to write our books," author Catherine Arthur tweeted. "Being tarred with the 'self-published = written by AI' label is not good, and if they don't stop, then that's what may happen."Share This Article