California became just the third state in the nation to pass a "right to repair" consumer protection law on Tuesday, following Minnesota and New York, when Governor Gavin Newsom signed SB 244. The California Right to Repair bill had originally been introduced in 2019. It passed, nearly unanimously, through the state legislature in September. 

“This is a victory for consumers and the planet, and it just makes sense,” Jenn Engstrom, state director of CALPIRG, told iFixit (which was also one of SB244's co-sponsors). “Right now, we mine the planet’s precious minerals, use them to make amazing phones and other electronics, ship these products across the world, and then toss them away after just a few years’ use ... We should make stuff that lasts and be able to fix our stuff when it breaks, and now thanks to years of advocacy, Californians will finally be able to, with the Right to Repair.”

Turns out Google isn't offering seven years of replacement parts and software updates to the Pixel 8 out of the goodness of its un-beating corporate heart. The new law directly stipulates that all electronics and appliances costing $50 or more, and sold within the state after July 1, 2021 (yup, two years ago), will be covered under the legislation once it goes into effect next year, on July 1, 2024. 

For gear and gadgets that cost between $50 and $99, device makers will have to stock replacement parts and tools, and maintain documentation for three years. Anything over $100 in value gets covered for the full seven-year term. Companies that fail to do so will be fined $1,000 per day on the first violation, $2,000 a day for the second and $5,000 per day per violation thereafter.

There are, of course, carve outs and exceptions to the rules. No, your PS5 is not covered. Not even that new skinny one. None of the game consoles are, neither are alarm systems or heavy industrial equipment that "vitally affects the general economy of the state, the public interest, and the public welfare." 

“I’m thrilled that the Governor has signed the Right to Repair Act into law," State Senator Susan Talamantes Eggman, one of the bill's co-sponsors, said. "As I’ve said all along, I’m so grateful to the advocates fueling this movement with us for the past six years, and the manufacturers that have come along to support Californians’ Right to Repair. This is a common sense bill that will help small repair shops, give choice to consumers, and protect the environment.”

The bill even received support from Apple, of all companies. The tech giant famous for its "walled garden" product ecosystem had railed against the idea when it was previously proposed in Nebraska, claiming the state would become "a mecca for hackers." However, the company changed its tune when SB 244 was being debated, writing a letter of support reportedly stating, "We support 'SB 244' because it includes requirements that protect individual users' safety and security as well as product manufacturers' intellectual property."

Just seven months after its beta debut, Adobe's Firefly generative AI is set to receive a trio of new models as well as more than 100 new features and capabilities, company executives announced at the Adobe Max 2023 event on Tuesday. The Firefly Image 2 model promises higher fidelity generated images and more granular controls for users and the Vector model will allow graphic designers to rapidly generate vector images, a first for the industry. The Design model for generating print and online advertising layouts offers another first: text-to-template generation.

Adobe is no stranger to using machine learning in its products. The company released its earliest commercial AI, Sensei, in 2016. Firefly is built atop the Sensei system and offers image and video editors a whole slew of AI tools and features, from "text to color enhancement" saturation and hue adjustments to font and design element generation and even creating and incorporating background music into video scenes on the fly. The generative AI suite is available across Adobe's product ecosystem including Premiere Pro, After Effects, Illustrator, Photoshop and Express, as well as on all subscription levels the Creative Cloud platform (yes, even the free one).

Adobe

Firefly Image 2 is the updated version of the existing text-to-image system. Like its predecessor, this one is trained exclusively on licensed and public domain content to ensure that its output images are safe for commercial use. It also accommodates text prompts in any of 100 languages. 

Adobe

Adobe's AI already works across modalities, from still images, video and audio to design elements and font effects. As of Tuesday, it also generates vector art thanks to the new Firefly Vector model. Currently available in beta, this new model will also offer Generative Match, which will recreate a given artistic style in its output images. This will enable users to stay within bounds of the brand's guidelines, quickly spin up new designs using existing images and their aesthetics, as well as seamless, tileable fill patterns and vector gradients.

The final, Design model, is geared heavily towards advertising and marketing professionals for use in generating print and online copy templates using Adobe Express. Users will be able to generate images in Firefly then port them to express for use in a layout generated from the user's natural language prompt. Those templates can be generated in any of the popular aspect ratios and are fully editable through conventional digital methods. 

Adobe

The Firefly web application will also receive three new features: Generative Match, as above, for maintaining consistent design aesthetics across images and assets. Photo Settings will generate more photorealistic images (think: visible, defined pores) as well as enable users to tweak images using photography metrics like depth of field, blur and field of view. The system's depictions of plant foliage will reportedly also improve under this setting. Prompt Guidance will even rewrite whatever hackneyed prose you came up with into something it can actually work from, reducing the need for the wholesale re-generation of prompted images.

After Disney releases a new film in English, the company will go back and localize it in as many as 46 global languages to make the movie accesible to as wide an audience as possible. This is a massive undertaking, one for which Disney has an entire division — Disney Character Voices International Inc — to handle the task. And it's not like you're getting Chris Pratt back in the recording booth to dub his GotG III lines in Icelandic and Swahili — each version sounds a little different given the local voice actors. But with a new "AI dubbing" system from ElevenLabs, we could soon get a close recreation of Pratt's voice, regardless of the language spoken on-screen.   

ElevenLabs is an AI startup that offers a voice cloning service, allowing subscribers to generate nearly identical vocalizations with AI based on a few minutes worth of audio sample uploads. Not wholly unsurprising, as soon as the feature was released in beta, it was immediately exploited to impersonate celebrities, sometimes even without their prior knowledge and consent. 

The new AI dubbing feature does essentially the same thing — in more than 20 different languages including Hindi, Portuguese, Spanish, Japanese, Ukrainian, Polish and Arabic — but legitimately, and with permission. This tool is designed for use by media companies, educators and internet influencers who don't have Disney Money™ to fund their global adaptation efforts.

ElevenLabs asserts that the system will be able to not only translate "spoken content to another language in minutes" but also generate new spoken dialog in the target language using the actor's own voice. Or, at least, a AI generated recreation. The system is even reportedly capable of maintaining the "emotion and intonation" of the existing dialog and transferring that over to the generated translation.

 "It will help audiences enjoy any content they want, regardless of the language they speak," ElevenLabs CEO Mati Staniszewski said in a press statement. "And it will mean content creators can easily and authentically access a far bigger audience across the world."

It's been two years since Google first debuted Project Green Light, a novel means of addressing the street-level pollution caused by vehicles idling at stop lights. At its Sustainability ‘23 event on Tuesday, the company discussed some of the early findings from that program and announced another wave of expansions for it.

Green Light uses machine learning systems to comb through Maps data to calculate the amount of traffic congestion present at a given light, as well as the average wait times of vehicles stopped there. That information is then used to train AI models that can autonomously optimize the traffic timing at that intersection, reducing idle times as well as the amount of braking and accelerating vehicles have to do there. It's all part of Google's goal to help its partners collectively reduce their carbon emissions by a gigaton by 2030.

Google

When the program was first announced in 2021, it had only been pilot tested in four intersections in Israel in partnership with the Israel National Roads Company but Google had reportedly observed a "10 to 20 percent reduction in fuel and intersection delay time" during those tests. The pilot program has grown since then, spreading to a dozen partner cities around the world, including Rio de Janeiro, Brazil; Manchester, England and Jakarta, Indonesia.

“Today we're happy to share that… we plan to scale to more cities in 2024,” Yael Maguire, Google VP of Geo Sustainability, told reporters during a pre-brief event last week. “Early numbers indicate a potential for us to see a 30 percent reduction in stops. We believe green light is unique because it is more scalable and cost effective for cities than alternative options.” Ideally, cities would deploy the models across grids of neighborhood blocks to create “waves” of propagating green lights.

Google

“Our AI recommendations work with existing infrastructure and traffic systems,” Maguire continued. “City engineers are able to monitor the impact and see results within weeks.” Maguire also noted that the Manchester test reportedly saw improvements to emission levels and air quality rise by as much as 18 percent. The company also touted the efficacy of its Maps routing in reducing emissions, with Maguire pointing out at it had "helped prevent more than 2.4 million metric tons of carbon emissions — the equivalent of taking about 500,000 fuel-based cars off the road for an entire year."

For the first couple decades of its existence, NASA was the epitome of an Old Boys Club; its astronaut ranks pulled exclusively from the Armed Services' test pilot programs which, at that time, were exclusively staffed by men. Glass ceilings weren't the only things broken when Sally Ride, Judy Resnik, Kathy Sullivan, Anna Fisher, Margaret "Rhea" Seddon and Shannon Lucid were admitted to the program in 1978 — numerous spaceflight systems had to be reassessed to accommodate a more diverse workforce. In The Six: The Untold Story of America’s First Women Astronauts, journalist Loren Grush chronicles the numerous trials and challenges these women faced — from institutional sexism to enduring survival training to navigating the personal pressures that the public life of an astronaut entails — in their efforts to reach orbit.

Scribner

Adapted from The Six: The Untold Story of America’s First Women Astronauts by Loren Grush. Copyright © 2023 by Loren Grush. Excerpted with permission by Scribner, a division of Simon & Schuster, Inc.

Above the Chisos Mountains sprawling across Big Bend National Park in West Texas, Kathy [Sullivan, PhD, third woman to fly in space and future head of the NOAA] sat in the back seat of NASA’s WB-57F reconnaissance aircraft as it climbed higher into the sky. The pilot, Jim Korkowski, kept his eye on the jet’s altimeter as they ascended. They’d just passed sixty thousand feet, and they weren’t done rising. It was a dizzyingly high altitude, but the plane was made to handle such extremes.

Inside the cockpit, both Kathy and Jim were prepared. They were fully outfitted in the air force’s high-altitude pressure suits. To the untrained observer, the gear looked almost like actual space suits. Each ensemble consisted of a bulky dark onesie, with thick gloves and a thick helmet. The combination was designed to apply pressure to the body as the high-altitude air thinned away and made it almost impossible for the human body to function.

The duo eventually reached their target height: 63,300 feet. At that altitude, their pressure suits were a matter of life and death. The surrounding air pressure was so low that their blood could start to boil if their bodies were left unprotected. But with the suits on, it was an uneventful research expedition. Kathy took images with a specialized infrared camera that could produce color photos, and she also scanned the distant terrain in various wavelengths of light.

They spent just an hour and a half over Big Bend, and the flight lasted just four hours in total. While it may have seemed a quick and easy flight, Kathy made history when she reached that final altitude above West Texas on July 1, 1979. In that moment, she flew higher than any woman ever had, setting an unofficial world aviation record.

The assignment to train with the WB-57 had scared her at first, but Kathy wound up loving those high-flying planes. “That was very fun, other than this little bit of vague concern that, ‘Hope this doesn’t mean I’m falling off the face of the Earth,’” Kathy said. The assignment took her on flights up north to Alaska and down south to Peru. As she’d hoped, she received full qualification to wear the air force’s pressure suits, becoming the first woman to do so. Soon, donning a full-body suit designed to keep her alive became second nature to her.

NASA officials had also sought her out to test a new piece of equipment they were developing for future Shuttle astronauts, one that would let people relieve themselves while in space. During the Apollo and Gemini eras, NASA developed a relatively complex apparatus for astronauts to pee in their flight suits. It was, in essence, a flexible rubber cuff that fit around the penis, which then attached to a collection bag. The condom-like cuffs came in “small,” “medium,” and “large” (though Michael Collins claimed the astronauts gave them their own terms: “extra large,” “immense,” and “unbelievable”). It was certainly not a foolproof system. Urine often escaped from beneath the sheath.

Cuffs certainly weren’t going to work once women entered the astronaut corps. While the Space Shuttle had a fancy new toilet for both men and women to use, the astronauts still needed some outlet for when they were strapped to their seats for hours, awaiting launch or reentry. And if one of the women was to do a spacewalk, she’d need some kind of device during those hours afloat. So, NASA engineers created the Disposable Absorption Containment Trunk (DACT). In its most basic form it was . . . a diaper. It was an easy fix in case astronauts needed to urinate while out of reach of the toilet. It was designed to absorb fecal matter, too, though the women probably opted to wait until they reached orbit for that.

Kathy was the best person to test it out. Often during her high-altitude flights, she’d be trapped in her pressure suit for hours on end, creating the perfect testing conditions to analyze the DACT’s durability. It worked like a charm. And although the first male Shuttle fliers stuck to the cuffs, eventually the DACT became standard equipment for everyone.

After accumulating hundreds of hours in these pressure suits, Kathy hoped to leverage her experience into a flight assignment, one that might let her take a walk outside the Space Shuttle one day. As luck would have it, she ran into Bruce McCandless II in the JSC gym one afternoon. He was the guy to know when it came to spacewalks. NASA officials had put him in charge of developing all the spacewalk procedures and protocols, and at times he seemed to live in the NASA pools. Plus, he was always conscripting one of Kathy’s classmates to do simulated runs with him in the tanks. Kathy wanted to be next. Projecting as much confidence as she could, she asked him to consider her for his next training run.

It worked. Bruce invited Kathy to accompany him to Marshall Space Flight Center in Alabama to take a dive in the tank there. The two would be working on spacewalk techniques that might be used one day to assemble a space station. However, the Space Shuttle suits still weren’t ready to use yet. Kathy had to wear Apollo moonwalker Pete Conrad’s suit, just like Anna had done during her spacewalk simulations. But while the suit swallowed tiny Anna, it was just slightly too small for Kathy, by about an inch. When she put it on, the suit stabbed her shoulders, while parts of it seemed to dig into her chest and back. She tried to stand up and nearly passed out. It took all her strength to walk over to the pool before she flopped into the tank. In the simulated weightless environment, the pain immediately evaporated. But it was still a crucial lesson in space-suit sizes. The suits have to fit their wearers perfectly if the spacewalk is going to work. 

The session may have started off painfully, but once she began tinkering with tools and understanding how to maneuver her arms to shift the rest of her body, she was hooked. She loved spacewalking so much that she’d go on to do dozens more practice dives throughout training.

But it wasn’t enough to practice in the pool. She wanted to go orbital. 

Archaeologists figure we’ve been baking for anywhere from 11,000 to 14,000 years. And while the fundamental chemistry of leavening bread hasn’t much changed over the intervening years, we have developed countless shortcuts to make the bread baking process easier, faster and more convenient through products like baking soda, baking powder, instant dry yeast; and tools like electric ovens, stand mixers and food processors.

With the busy holiday baking season right around the corner and visions of sourdough stocking stuffers for friends and family dancing through my mind, I recently picked up a new starter culture (shout out to MatKat Bakery of Modesto, California). Normally when I maintain a starter it will either live in the fridge or on my kitchen counter. The problem with that is the yeast and bacteria that make sourdough, well, sour, prefer the ambient temperature to be in the mid-70s to low-80s, making my kitchen counter a little too cold — and fridge far too cold — for the starter to expediently rise when I feed it. But you better believe we have gadgets to fix that. Here are three that will maintain an ideal temperature for sourdough starter to live in.

Sourhouse Goldie

That is precisely what the Sourhouse Goldie is designed to do. Growing out of a significantly-overfunded Kickstarter, the Goldie is essentially a small heating pad enclosed by a large glass dome meant to create a tiny, cozy microenvironment for your starter to live in.

An integrated thermometer tracks the temperature under the dome and relays that information via a three-color LED in the base. Blue means it’s too cold, red means it’s too hot and yellow indicates you’ve reached the “goldilocks zone.” If it is too cold, you can turn on the heat which will raise the temperature to the goldilocks zone and then keep it there indefinitely. If your kitchen is too hot, an included “cooling puck” that otherwise lives in your freezer can be set on top of your starter jar to lower the temp.

Andrew Tarantola / Engadget

The dome is quite tall, able to accommodate my normal quart-sized starter containers, though the included pint-sized graduated cylinder is plenty big enough to hold a few hundred grams of fed starter. Despite its height, the bell sits sturdily atop the heating platform and forms a firm seal at its base — enough that things can get rather steamy under the dome if you trap any moisture in there while feeding your starter. Overall the device has a surprisingly small footprint and a sub-six-inch diameter. I can pick it up, move it around my kitchen as I work, shove it into a corner or onto a pantry shelf when I’m not using it –— the thing fits most anywhere. It runs off a USB plug (and an included wall adapter) giving you added options in potential power sources.

Beyond providing a quick visual reference for how the starter is doing, I also like that the Goldie provides a bit of entertainment as the starter rises. I always get a little tingle of pride as I see the culture that I have raised and cared for flourish and grow under the dome.

Overall it’s ludicrously easy to use — you plug it in, turn it on and put your starter under the dome. From there it can keep indefinitely, assuming you maintain power and keep feeding the culture. This method can get labor and resource intensive given that keeping a starter active at those temperatures will require feeding it every 12 to 24 hours. Think of it like a yeast-based teenager — depending on your feeding ratio (starter vs flour vs water added each time) you can end up running through food for it far faster than you realized possible. I like to keep my starter in the fridge if I’m not planning on using it for a few days (to dramatically slow the culture’s metabolism) and I’ve found that I can bring my starter back to activity far more quickly by putting it in the Goldie rather than my kitchen counter.

I’m not so hot on the Goldie’s price point, however. For as much as I like it, $130 for a hot plate and bell jar feels steep to me (they don't even include the jar for the starter pictured in their marketing), especially when the user has very little direct control, or even understanding of what the starter is currently experiencing. It’s a very vibe-heavy experience for an activity where I’m then expected to calculate hydration percentages out to two decimal places.

Brod & Taylor Sourdough Home

The Sourdough Home, from baking equipment purveyors Brod & Taylor, takes the nearly opposite tack in heating, cooling and maintaining a starter. Where the Goldie is a kitchen gadget, the Home is kitchen equipment.

It’s a mini-mini fridge, one that sits on your countertop to house jars of sourdough starter, and can dial in your desired air temperature to the degree. It’s bigger and boxier than the Goldie; taller, wider and deeper too. The interior is split horizontally by a removable shelf that can hold either a single quart jar or a pair of pints. The front face features an LED touch-sensitive thermostat which ranges from 41 - 122 degrees fahrenheit. It really is a tiny refrigerator that also gets warm on command — or a tiny oven that gets very cold, depending on how you look at it.

Andrew Tarantola / Engadget

With the Goldie, I find myself splitting the starter’s time between living in my regular refrigerator and in the device itself, getting ready for use. And that generally works when I’m only baking on the weekends or need to activate the starter for a spur of the moment project. The Home replaces that entire situation with a single countertop device. The starter lives there — I never get it lost in the back of my full-size refrigerator, I never forget to feed it for a week with it hanging out on my counter.

Getting the starter ready is as simple as adjusting the thermostat up a handful of degrees; preparing it for hibernation is the same, in the opposite direction. The Home incorporates a fan into its design, so it does make slightly more noise than the completely silent Goldie, but the whirring is barely audible to me, a middle-aged guy with moderate tinnitus.

I like the Home. It provides a degree of control and precision that the Goldie cannot match at a price point $30 lower, at $99. Interestingly, it appears that both the Goldie and the Home draw the same amount of power (100 - 240V), so don’t worry about electrical efficiency when deciding between them.

The Breadwinner

While both the Goldie and the Home do an excellent job of keeping your starter at its optimal temperature, neither will alert you when the culture is ready for use. That’s where the Breadwinner comes in. This Wi-Fi connected growth sensor screws onto the top of any wide mouth (86mm) mason jar. It measures the starter’s rate of rise after a feeding and until it peaks a few hours later, marking its readiness to use.

Traditionally I use my eyes and a series of rubber bands around the jar measuring its growth at the top of every hour to figure out when my starter’s rise is slowing down (which means its ready to use). The Breadwinner not only does that for me, but also sends me email alerts when it’s ready. It also saves all of that data to an online portal where I can track it in real-time and mine it for historical trends about the culture’s previous performance. I can also plug into a social network / online journal of like-minded bakers, share recipes I’ve used my starter in and generally keep track of everything I’ve used it for.

Andrew Tarantola / Engadget

This is a really handy gadget when I’m getting ready for a bake but not necessarily able to hang around my kitchen until it’s ready. I can do other chores or run errands and feel secure in the knowledge that the Breadwinner will shoot me a note when it’s time to get baking. I also like that the device can be tuned to the size of the jar — 16, 24, 32 or 64 oz — for more accurate readings. The Breadwinner runs on four AA batteries, which will last anywhere from two weeks to a couple months, depending on how often you’re feeding your starter and using the device. If you want to get really fancy, you can use the Breadwinner and the Home or Goldie in tandem with each other, rapidly rewarming the starter and knowing precisely when it is ready to use.

Engadget

I do wish the activation button wasn’t quite so easy to, uh, activate. I kept accidentally turning it when I was just moving the jar around between feedings, which required me to log into the portal and delete the blank records from my starter’s profile. I’m also not sold on the price of $125 MSRP, which is a solid chunk of change for a narrowly applicable and entirely optional kitchen tool (though we could see a discount arrive ahead of the holiday shopping season). I also have concerns given that the company behind the Breadwinner is still a small startup. If they go out of business, their servers, where the Breadwinner’s data and utility reside, will go offline as well and you’re left with a hundred-dollar novelty jar lid. If Brod & Taylor or Sourhouse go under, yeah I’ll lose warranty repairs, but the devices themselves will keep working.

Who would find these gadgets most useful?

This is $355 worth of gear altogether — a new, not refurbished, KitchenAid 4.5-quart stand mixer worth of gear. That’s a lot of flour. Still, the prospect of having my starter ready to use “in a few hours” rather than “later this evening,” and of not kicking myself for forgetting to take the jar out of the fridge the night before — that’s worth at least $100 to me. Maybe $225, but I’ve been burned like starter in a hot oven by proprietary kitchen platforms before.

Andrew Tarantola / Engadget

Really, the choice of keepers comes down to your personal preference: between the more whimsical vibes of the Goldie and the calculating precision of the Sourdough Home. If you’re only planning on using your starter on one or two bakes a week, splitting its time between your fridge and the Goldie is the way I would go. Conversely, if you’re working with your starter more than half the days in a week and need to keep it perpetually at the ready, a dedicated housing space like the Sourdough Home would likely serve you better. The Breadwinner works equally well with either warmer, or on its own. If you tend to multitask other chores and responsibilities during your recipe’s proofing times, the Breadwinner can help keep you on task and keep your bake from falling flat.

Climate change isn't going away, and it isn't going to get any better — at least if we keep legislating as we have been. In Democracy in a Hotter Time: Climate Change and Democratic Transformation, a multidisciplinary collection of subject matter experts discuss the increasingly intertwined fates of American ecology and democracy, arguing that only by strengthening our existing institutions will we be able to weather the oncoming "long emergency."

In the excerpt below, contributing author and Assistant Professor of Environment and Sustainability at the University at Buffalo, Holly Jean Buck, explores how accelerating climate change, the modern internet and authoritarianism's recent renaissance are influencing and amplifying one another's negative impacts, to the detriment of us all.  

MIT Press

Excerpted from Democracy in a Hotter Time: Climate Change and Democratic Transformation, edited by David W. Orr. Published by MIT Press. Copyright © 2023. All rights reserved.

Burning hills and glowing red skies, stone-dry riverbeds, expanses of brown water engulfing tiny human rooftops. This is the setting for the twenty-first century. What is the plot? For many of us working on climate and energy, the story of this century is about making the energy transition happen. This is when we completely transform both energy and land use in order to avoid the most devastating impacts of climate change — or fail to.

Confronting authoritarianism is even more urgent. About four billion people, or 54 percent of the world, in ninety-five countries, live under tyranny in fully authoritarian or competitive authoritarian regimes. The twenty-first century is also about the struggle against new and rising forms of authoritarianism. In this narration, the twenty-first century began with a wave of crushed democratic uprisings and continued with the election of authoritarian leaders around the world who began to dismantle democratic institutions. Any illusion of the success of globalization, or of the twenty-first century representing a break from the brutal twentieth century, was stripped away with Russia’s most recent invasion of Ukraine. The plot is less clear, given the failure of democracy-building efforts in the twentieth century. There is a faintly discernable storyline of general resistance and rebuilding imperfect democracies.

There’s also a third story about this century: the penetration of the Internet into every sphere of daily, social, and political life. Despite turn-of-the-century talk about the Information Age, we are only beginning to conceptualize what this means. Right now, the current plot is about the centralization of discourse on a few corporate platforms. The rise of the platforms brings potential to network democratic uprisings, as well as buoy authoritarian leaders through post-truth memes and algorithms optimized to dish out anger and hatred. This is a more challenging story to narrate, because the setting is everywhere. The story unfolds in our bedrooms while we should be sleeping or waking up, filling the most quotidian moments of waiting in line in the grocery store or while in transit. The characters are us, even more intimately than with climate change. It makes it hard to see the shape and meaning of this story. And while we are increasingly aware of the influence that shifting our media and social lives onto big tech platforms has on our democracy, less attention is devoted to the influence this has on our ability to respond to climate change.

Think about these three forces meeting — climate change, authoritarianism, the Internet. What comes to mind? If you recombine the familiar characters from these stories, perhaps it looks like climate activists using the capabilities of the Internet to further both networked protest and energy democracy. In particular, advocacy for a version of “energy democracy” that looks like wind, water, and solar; decentralized systems; and local community control of energy.

In this essay, I would like to suggest that this is not actually where the three forces of rising authoritarianism x climate change x tech platforms domination leads. Rather, the political economy of online media has boxed us into a social landscape wherein both the political consensus and the infrastructure we need for the energy transition is impossible to build. The current configuration of the Internet is a key obstacle to climate action.

The possibilities of climate action exist within a media ecosystem that has monetized our attention and that profits from our hate and division. Algorithms that reap advertising profits from maximizing time-on-site have figured out that what keeps us clicking is anger. Even worse, the system is addictive, with notifications delivering hits of dopamine in a part of what historian and addiction expert David Courtwright calls “limbic capitalism.” Society has more or less sleepwalked into this outrage-industrial complex without having a real analytic framework for understanding it. The tech platforms and some research groups or think tanks offer up “misinformation” or “disinformation” as the framework, which present the problem as if the problem is bad content poisoning the well, rather than the structure itself being rotten. As Evgeny Morozov has quipped, “Post-truth is to digital capitalism what pollution is to fossil capitalism — a by-product of operations.”

A number of works outline the contours and dynamics of the current media ecology and what it does — Siva Vaidhyanathan’s Antisocial Media, Safiya U. Noble’s Algorithms of Oppression, Geert Lovink’s Sad by Design, Shoshana Zuboff’s Surveillance Capitalism, Richard Seymour’s The Twittering Machine, Tim Hwang’s Subprime Attention Crisis, Tressie McMillan Cottom’s writing on how to understand the social relations of Internet technologies through racial capitalism, and many more. At the same time, there’s reasonable counter-discussion about how many of our problems can really be laid at the feet of social media. The research on the impacts of social media on political dysfunction, mental health, and society writ large does not paint a neat portrait. Scholars have argued that putting too much emphasis on the platforms can be too simplistic and reeks of technological determinism; they have also pointed out that cultures like the United States’ and the legacy media have a long history with post-truth. That said, there are certainly dynamics going on that we did not anticipate, and we don’t seem quite sure what to do with them, even with multiple areas of scholarship in communication, disinformation, and social media and democracy working on these inquiries for years.

What seems clear is that the Internet is not the connectedness we imagined. The ecology and spirituality of the 1960s, which shaped and structured much of what we see as energy democracy and the good future today, told us we were all connected. Globally networked — it sounds familiar, like a fevered dream from the 1980s or 1990s, a dream that in turn had its roots in the 1960s and before. Media theorist Geert Lovink reflects on a 1996 interview with John Perry Barlow, Electronic Frontier Foundation cofounder and Grateful Dead lyricist, in which Barlow was describing how cyberspace was connecting each and every synapse of all citizens on the planet. As Lovink writes, “Apart from the so-called last billion we’re there now. This is what we can all agree on. The corona crisis is the first Event in World History where the internet doesn’t merely play ‘a role’ — the Event coincides with the Net. There’s a deep irony to this. The virus and the network ... sigh, that’s an old trope, right?” Indeed, read through one cultural history, it seems obvious that we would reach this point of being globally networked, and that the Internet would not just “play a role” in global events like COVID-19 or climate change, but shape them.

What if the Internet actually has connected us, more deeply than we normally give it credit for? What if the we’re-all-connected-ness imagined in the latter half of the twentieth century is in fact showing up, but manifesting late, and not at all like we thought? We really are connected — but our global body is neither a psychedelic collective consciousness nor a infrastructure for data transmission comprising information packets and code. It seems that we’ve made a collective brain that doesn’t act much like a computer at all. It runs on data, code, binary digits — but it acts emotionally, irrationally, in a fight-or-flight way, and without consciousness. It’s an entity that operates as an emotional toddler, rather than with the neat computational sensing capacity that stock graphics of “the Internet” convey. Thinking of it as data or information is the same as thinking that a network of cells is a person.

The thing we’re jacked into and collectively creating seems more like a global endocrine system than anything we might have visualized in the years while “cyber” was a prefix. This may seem a banal observation, given that Marshall McLuhan was talking about the global nervous system more than fifty years ago. We had enthusiasm about cybernetics and global connectivity over the decades and, more recently, a revitalization of theory about networks and kinship and rhizomes and all the rest. (The irony is that with fifty years of talk on “systems thinking,” we still have responses to things like COVID-19 or climate that are almost antithetical to considering interconnected systems — dominated by one set of expertise and failing to incorporate the social sciences and humanities). So — globally connected, yet divided into silos, camps, echo-chambers, and so on. Social media platforms are acting as agents, structuring our interactions and our spaces for dialogue and solution-building. Authoritarians know this, and this is why they have troll farms that can manipulate the range of solutions and the sentiments about them.

The Internet as we experience it represents a central obstacle to climate action, through several mechanisms. Promotion of false information about climate change is only one of them. There’s general political polarization, which inhibits the coalitions we need to build to realize clean energy, as well as creates paralyzing infighting within the climate movement about strategies, which the platforms benefit from. There’s networked opposition to the infrastructure we need for the energy transition. There’s the constant distraction from the climate crisis, in the form of the churning scandals of the day, in an attention economy where all topics compete for mental energy. And there’s the drain of time and attention spent on these platforms rather than in real-world actions.

Any of these areas are worth spending time on, but this essay focuses on how the contemporary media ecology interferes with climate strategy and infrastructure in particular. To understand the dynamic, we need to take a closer look at the concept of energy democracy, as generally understood by the climate movement, and its tenets: renewable, small-scale systems, and community control. The bitter irony of the current moment is that it’s not just rising authoritarianism that is blocking us from good futures. It’s also our narrow and warped conceptions of democracy that are trapping us.

Users will be able to edit, share and receive feedback on their Photoshop projects from anywhere on the web, Adobe announced Wednesday, regardless of whether an Adobe product is installed on their PC or tablet. The company is bringing its Photoshop on the web service out of beta and incorporating a few handy new AI features as well.

Adobe first introduced a feature-svelt online version of the popular Photoshop app in December, 2021. Originally, users could share their psd files but only if the recipient had a copy of Photoshop or Illustrator on their computer too. That changed with the introduction of Creative Cloud, which allowed for sharing without the need for a local install. The beta version of Photoshop on the web took that concept a step further by incorporating basic editing tools into the web UI geared towards "minor tweaks and quick edits" — the easy sort of stuff that took less time to fix than the program took to boot. The production version released Wednesday does all that and more.

"With this release we are starting with a focus on the needs of creators who are new to Photoshop with a streamlined user experience," Adobe VP Pam Clark wrote in a blog post. "We have brought the majority of the most commonly used Photoshop tools to the web and have streamlined the user experience, to make it easier for newer users to navigate the app."

Users will also be able to experiment with two new AI-driven tools, generative fill and generative expand. As their names' imply, these will "allow you to add, expand, or remove content from your images non-destructively, while magically matching perspective, lighting, and style of your image," Clark wrote. The features were first released as part of Firefly for the desktop edition of Photoshop. 

The Contextual Taskbar is also migrating over from the desktop. This on-screen menu will observe your workflow and suggest relevant next steps. But for all the new features to play with, a number of existing tools have yet to make the jump to the web, including the patch and pen tools, smart object support and the polygonal lasso, the the company insists that they will be added with future updates.  

Ironically, when ChatGPT debuted last November and basically broke the internet for a few days, the AI itself wasn't informed. In fact, its entire knowledge base stopped abruptly in September, 2021 because that was the most recent data the system was initially trained on. Wednesday, OpenAI announced that ChatGPT will now be able to answer even the most modern of queries as the generative AI assistant can now look up information, in real-time.

The new feature is being called Browse with Bing and appears to work directly within the normal Bing Chat window, notifying the user when it is looking up information from the web and providing citation links with its answers. "Browsing is particularly useful for tasks that require up-to-date information, such as helping you with technical research, trying to choose a bike, or planning a vacation," the OpenAI team wrote in a subsequent tweet. "Browsing is available to Plus and Enterprise users today, and we’ll expand to all users soon. To enable, choose Browse with Bing in the selector under GPT-4."

This isn't the first time that ChatGPT has gone on the internet, mind you. It had a web browsing capability available to Plus subscribers as recently as this past July, though that feature got axed after users kept exploiting it to get around paywalls. This announcement follows another major update from earlier in the week, revealing the chatbot's new multimodal functions.

Mondays rumors turned out to be true, Meta announced at its Connect event on Wednesday that it will release a line of digital personalities built on the company's freshly announced Meta AI chatbot platform. What could possibly go wrong?

Meta AI is a new genAI assistant that will span the company's various properties including WhatsApp, Messenger, Instagram (and arriving shortly on the Ray-Ban Meta smart glasses and Quest 3). User will be able to interact with it using natural language prompts. The AI is built on a custom model derived from Meta's LLaMA 2 LLM and will pull real-time information from the web using Microsoft Bing.     

What's more, the company is also rolling out 28 (!!!) chatbot "characters" meant to address specific niche interests, whether those are specific sports, media, or genre choices. These personalities will be voiced by a variety of modern influencers and celebrities: 

Charli D’Amelio as Coco, Dance enthusiast

Chris Paul as Perry, Pro golfer helping you perfect your stroke

Dwyane Wade as Victor, Ironman triathlete motivating you to be your best self

Izzy Adesanya as Luiz, Showy MMA prospect who can back up his trash talk

Kendall Jenner as Billie, No-BS, ride-or-die companion

LaurDIY as Dylan, Quirky DIY and Craft expert and companion for Gen Z

MrBeast as Zach, The big brother who will roast you — because he cares

Naomi Osaka as Tamika, Anime-obsessed Sailor Senshi in training

Paris Hilton as Amber, Detective partner for solving whodunnits

Raven Ross as Angie, Workout class queen who balances fitness with meditation

Roy Choi as Max, Seasoned sous chef for culinary tips and tricks

Sam Kerr as Sally, Free-spirited friend who’ll tell you when to take a deep breath

Snoop Dogg as Dungeon Master, Choose your own adventure with the Dungeon Master

Tom Brady as Bru, Wisecracking sports debater who pulls no punches

The initial batch of personalities will be available to US users starting today, with more performances coming from Bear Grylls, Chloe Kim, Josh Richards and others in the coming weeks.

Since the release of ChatGPT last November, Meta has been relatively slow to release a generative AI chatbot of its own, at least compared to competitors like Google and Microsoft. Instead, Meta has kept its focus on the LLaMA platform, its open-source large language model designed for commercial use, as well as a host of AI-enhanced, multimodal tools.  

This is a developing story. Please check back for updates.