Despite the pathetic lack of accountability, the Epstein files changed the calculus. What used to be dismissed as a niche conspiracy theory turned out to be a global system of trafficking involving people at the top. When a secret that large is proven true, the "mad" theories start to look plausible. What other huge lies are we being told? What else exists behind the curtain?

We see a pattern now. A group of powerful people shape the world to fit their needs. They tell the public to "move on" while they build doomsday bunkers in remote locations, private security forces, and tech replacements for human labor.

The amazing thing is they are building all this right in the open, and we're like, "nah, they cant really be planning for half of us to die, are they?"

This started about a century ago. When the Great Depression hit in 1929 there were some hard hitting films. In 1930 the Motion Picture Production (Hays) Code was introduced. It was not really followed or enforced until 1934.

I thought old movies were a sign of some creepy puritan way of life, but it a code forced upon the creative folks. It's like history has been unveiled for me after watching a couple of these movies - I quite liked Five Star Final by Mervyn LeRoy. The ending was quite relevant to our current times.

The word czar is being used again. A sad little man wants to make Hollywood great again. There are puritan laws being put in place, or are simmering. I hope I live long enough to see some better parts of history rhyme.

Here are a couple of articles talking about Pre-Code films:

As a result, some films in the late 1920s and early 1930s depicted or implied sexual innuendo, romantic and sexual relationships between white and black people, mild profanity, illegal drug use, promiscuity, prostitution, infidelity, abortion, intense violence, and homosexuality. Nefarious characters were seen to profit from their deeds, in some cases without significant repercussions. For example, gangsters in films such as The Public Enemy, Little Caesar, and Scarface were seen by many as heroic rather than evil. Strong female characters were ubiquitous in such pre-Code films as Female, Baby Face and Red-Headed Woman, among many others, which featured independent, sexually liberated women.[1][2] Many of Hollywood's biggest stars, such as Clark Gable, Bette Davis, James Cagney, Barbara Stanwyck, Joan Blondell, and Edward G. Robinson, got their start in the era.

https://en.wikipedia.org/wiki/Pre-Code_Hollywood

Once the Code took hold, criminals had to be punished. Sex had to be implied, not shown. Topics like abortion, drug use, and interracial romance were completely removed.

https://filmdaft.com/what-is-pre%E2%80%91code-hollywood-meaning-history-film-examples/

Submission Statement: This video presents a novel way of understanding just how bloody complicated the Metacrisis is. Although it is titled with NZ, you can comfortably ignore that detail as most of the content relates to the global predicament. The graphic in this has been designed to try and capture as many of the issues we face, including about 60 topics ranging from "Finite Planet", "Psychological Drivers", "Deforestation", "Ice Melt", "Food Insecurity", "Civil Unrest", "Resource Depletion", "Health Problems", "Pollution", "Insect Decline" and so on. I think the video provides a pretty good introduction to the Metacrisis/Collapse/what-have-you, and then goes on to present a number of horrifying statistics, facts and figures highlighting the state of the planet, and showing how different factors and drivers inter-relate, all while using the graphic to illustrate this. Although it's from 2024, if you just imagine that things have only gotten worse since then, you'll be fine... oh wait you don't have to imagine that! If nothing else it does provide a good baseline for comparison so we can see how bad things are now, vs how bad they were back then. Here's a backup link to the video in the event of other technical issues: https://www.youtube.com/watch?v=yEIm8gfExJ8

Republican lawmakers dumped the problem in the White House's lap and left the Capitol as a midnight deadline for DHS funding looms. Their weeklong recess abandons the standoff over ICE and leaves it to White House negotiators and Democratic lawmakers to solve. — Read the rest

The post Republicans jet off as DHS runs out of money appeared first on Boing Boing.

The International Olympic Committee is under fire for selling a men's T-shirt commemorating the 1936 Berlin Olympics, hosted by Hitler.

The shirt, featuring the original Berlin 1936 poster art, showed up on the Olympics website with the kind of bland "celebrate humanity" framing that only works if you aggressively forget what a celebration of humanity Berlin 1936 was. — Read the rest

The post IOC adds Nazi-era Berlin Games to "Heritage Collection" appeared first on Boing Boing.

This Star Wars racing game looks like it has the right amount of sound effects, visuals, and dirty deeds to be a good time.

While slightly generic and not focused on the timeframe I enjoy most in Star Wars, this looks like it has enough Star Wars elements to be fun as a racing game, and fun as Star Wars. — Read the rest

The post "Now this is pod racing!" Star Wars: Galactic Racer coming soon appeared first on Boing Boing.

I have become obsessed with Solvej Balle's story of a woman trapped on a single day.

On the Calculation of Volume introduces us to Tara Selter, a woman living the classic Bill Murray Movie "Groundhog Day" but with no explanation or idea of how or why. — Read the rest

The post A phenomenal time travel story: On the Calculation of Volume (Book I) appeared first on Boing Boing.

Anyone on the flower rota at England's parish churches will now be reconsidering the way they do their arrangements, after Church of England leaders voted to use more seasonal and local flowers.

A motion to use sustainable flowers brought before the General Synod of the Church of England by the Bishop of Dudley, Martin Gorrick, was passed on February 12. The term "sustainable flowers" means using those that have travelled less distance, use less packaging and have been grown using without chemicals, high energy inputs or an excessive amount of water.

The General Synod, which considered the motion, is made up of all bishops plus representatives from every diocese, and includes the newly appointed Archbishop of Canterbury, Dame Sarah Mullally - who personally thanked those who brought the motion. The bishop said: "It is deeply theological, to honour the God who made the earth."

Parish leaders will now need to be updated about what needs to change in planning the flowers for the front of the church.

For most churches this will mean using seasonal foliage and local flowers in weekly worship, rather than buying those grown thousands of miles away or by using intense heating to grow blooms out of season.

These sustainable flowers may come from churchyards, gardens, donation buckets or offerings from local garden clubs or allotment holders.

The motion encourages all places of worship to source what is local and seasonal to them, wherever possible. It aims to phase out the use of floral foam, which has traditionally been used for flower arranging. And it links the theology of stewardship of creation and the planet to how to treat nature, promoting seasonal and compostable flowers and foliage.

It is likely to mean trying different techniques such as going back to some traditional methods used before floral foam was invented in the 1950s.

I was there to hear the bishop say that the decision to phase out floral foam is about moving away from single-use plastics and manufactured alternatives, towards simpler methods of display, such as vases, sticks and other reusable and compostable materials.

What the church does matters, it uses millions of flowers every year in its displays. Its impact goes far beyond the church doors.

If the around 12,000 Church of England parishes only averaged two bunches a week, that would be over 1.2 million a year and millions of stems. Additionally there are huge numbers used at church events such as weddings and funerals, and brought into churchyards. The church's decision could also drive more Fairtrade sales where local flowers are not available.

With this potential source of business changing, florists might be encouraged to provide plastic-free options, and consumers might be more aware when choosing their flowers - such as for St Valentine's Day and beyond.

Currently, even those who want to buy sustainable flowers will struggle to know what to look for. Details of the place of origin is rarely included on plastic wrapping and any independent verification of flowers meeting particular standards, for example Fairtrade, are rarely available to consumers. Fairtrade flowers do give more information to consumers, including place of origin and farm standards.

The Church of England's decision shows a need for providing consumers with more information on the ecological standards that flowers have been grown to, impact on soil, biodiversity and on the local economy.

These are issues that the Sustainable Flowers Research Project, an organisation set up by me and David Bek, a professor of sustainability at Coventry University, have been working on for years. We also work with flower suppliers and buyers to create more sustainable policies on farms and in shops.

A current government-funded project with the Flower Growing Collective, a network of regional flower selling hubs, is providing new routes to market for more than 60 growers. It also is creating convenient wholesale access for florists to buy local flowers, without needing to trail around multiple farms.

Farmers who already supply seasonal flowers can be found through organisations such as Flowers from the Farm. Other useful guidance is also available to help people find more environmentally friendly flowers. And a new sustainable church flowers national award scheme will encourage and acknowledge the work being done.

Hopefully church flower arrangers around the country will embrace this new approach, and see it as changing with the times.

Jill Timms receives funding from the UKRI/Defra Farming Innovation programme and the ESRC Impact Acceleration Account. She is also an affiliate of Sustainable Church Flowers (SCF).

In 1958, Brazil won the men's Fifa World Cup in Sweden. The team, which included a 17-year-old Pelé, stayed in a modest country hotel and travelled by train or bus to small stadiums in cities such as Uddevalla and Göteborg.

Fan attendance was fairly low for that 16-team tournament. And so too was the the ecological impact of the event - especially compared to the 2026 World Cup which will see 48 teams and millions of supporters travel to and across North America.

For while football's global reach is often highlighted as a positive thing that brings the world together, the beautiful game risks having a rather ugly impact on the planet.

This is partly down to ambitious plans to expand almost every aspect of elite football - more money, more matches, more tournaments, more fans - that have accelerated over recent decades. This could be seen as a positive development for anyone who enjoys football, but it also has some problematic consequences.

The expansion of international competitions for example, has led to increasing carbon dioxide emissions from football-related travel as teams, supporters and media representatives fly around the globe following the game.

A recent study estimated that as part of the growing ecological footprint of international sport, global football now has a carbon footprint similar to that of Austria.

So the high number of international matches, as seen in the remodelled Fifa men's Club World Cup, the expanded men's Euros of 2024 and the forthcoming men's World Cup in 2026 challenges both the health of the players and the health of the planet.

These issues all point in the same direction - prioritising profit and growth over people and planet, and developing a dependence on the fossil-fuel economy.

There are plenty of examples. Oil-rich Saudi Arabia for instance, is often accused of sportswashing, but was named as host for the 2034 World Cup and continues to invest in the English Premier League. The 2022 Fifa World Cup in oil-rich Qatar was criticised for the environmental impact of new stadiums, new infrastructure and the use of cooling systems in the extreme heat.

Then there's Fifa's sponsorship deal with Aramco, a company estimated to be responsible for 4% of global greenhouse gas emissions since 1965. All of these are strong signs that fossil-fuelled growth in the economics of football has been normalised.

Some supporters and campaign groups have been criticising this development for a while now. But how is football responding?

Well, recently Fifa announced the creation of its own "peace prize" to recognise those who "unite people, bringing hope for future generations". But while that ambition may sound admirable, the actions of global football suggest the opposite.

For instead of bringing hope, football is accelerating climate change through its a problematic dependence on fossil-fuel sponsorship. Research suggests that the sport also displays a distinct lack of support for those countries that are most severely affected by climate change.

There are though, some clubs doing their best to take environmental sustainability seriously. FC Porto, Real Betis and Malmö FF are all involved in the "Free Kicks" project, which requires clubs to assess their environmental performance in terms of things like energy savings and use of resources.

Their work shows that it is possible to combine top-level football with sustainable practices and good governance. And if Fifa is serious about bringing hope to future generations, it may want to learn from some of the people who have done precisely that.

Reducing the size and frequency of large international events would be a good start. So too would organising fixtures in such a way as to minimise their carbon footprint.

If all of this means accepting a deceleration in the expansion of global football in a bid to become more sustainable, would that really be so bad?

After all, those who saw a 17-year-old Pelé in Sweden in 1958 did not know about the coming climate crisis. But the football they followed back then was a lot more compatible with sustainable development than the sport is today.

Daniel Svensson is affiliated with The Sport Ecology Group. He receives funding from The Swedish Research Council for Sport Science.

Large parts of the UK are experiencing relentless rainfall, with some places seeing rain for 41 consecutive days and counting. In Reading, in the south east of England, our university's official rain gauge has recorded precipitation on 31 consecutive days - unprecedented in records stretching all the way back to 1908.

The pattern has not just made 2026 a bit dreary. It also reveals one way in which climate change is making the already naturally variable (some would say gloriously variable) British weather increasingly extreme.

In those 31 days, Reading has received 141mm of rain, compared to the 30-year average over that period of just 58mm - well over twice what we would expect at the time of year.

Higher than average rainfall totals are expected, well, half of the time. This is just how mean averages work. But it's the nature of this current weather pattern that is so unusual, and is in keeping with the type of wetter winter situation for UK weather that climate scientists have been warning us to expect - even if we are still only just learning why exactly this is happening on a regional level.

Over the full breadth of a British year, the bigger picture is even more revealing. Last year, the UK was grappling with one of the hottest and driest summers on record. A succession of hot spells, combined with long periods that saw less than average rainfall, meant water supplies dwindled and widespread hosepipe bans were put in place.

As a whole, 2025 from spring onwards was exceptionally dry. Fast forward to the new year, and we're facing the opposite - weeks of rainfall and flooding. These extremes are what we expect to see in this part of the world, as heat builds up in the global atmosphere and oceans. For British people, this is what climate change right now feels like.

What is causing this link between a warmer planet and wetter British winters? One fundamental link is in basic physics of the atmosphere as temperatures rise. Warmer air can hold more moisture - about 7% more for every one degree celsius of warming. This means that when it rains, on average it rains harder. Bigger, heavier downpours become more common.

Climate change is also disrupting the patterns of currents and cycles within the atmosphere and oceans that bring the UK much of its weather. As an island archipelago on the edge of three competing climate masses - the wet, mild Atlantic, the cold, dry Arctic, and the wildly variable temperatures of the Eurasian landmass - it is used to variability.

But one constant feature plays an oversized role in the type of weather we get: the jet stream - a ribbon of fast-flowing air high in the atmosphere. The position of the jet stream makes a big difference. Sometimes it flows to the north of Scotland, sometimes it is hundreds of miles further south towards Spain. This location matters, because the jet stream helps to blow whole weather systems - think of a big "bubble" of air carrying its own weather with it - from the Atlantic towards the UK.

Currently, the jet stream is positioned further south than typical for the time of year, steering consecutive wet and often windy weather systems directly towards the UK. At the same time, a high pressure system is sitting over parts of northern Europe, blocking the wet weather from moving further east.

The impact of climate change on the jet stream is complex, because this river of air circling the north pole from west to east is influenced by a lot of different factors. One thing we do know: the Arctic, at surface level, is warming faster than other parts of the planet. This means that the temperature difference between the poles and the equator, for air at lower levels at least, is not as big as it used to be. This may be influencing the jet stream to weaken and meander.

With less energy to push them along, these weather patterns can get stuck in one location, meaning that the systems of low air pressure associated with rainfall and storms can slow down or get stuck. When a system bringing rain parks itself over the UK for days on end, only to be followed by another system, and another, the result is relentless rainfall.

To complicate things further, high up in the atmosphere where the jet stream blows, climate change is actually making the temperature difference between equator and poles increase. This may be strengthening the speed and turbulence within the jet stream itself, and just adds to a complex picture of varying influence on UK rainfall.

These rapid swings between drought and deluge pose serious practical challenges for everyone in the UK. Water companies must plan for both droughts and floods, even within the same year. Farmers face uncertain growing conditions, with crops rotting in the wet soil one month, and drying out in droughts a few months later. Infrastructure designed for the climate of the past may not cope with the extremes of the future.

Understanding these changes isn't just an academic exercise. It's essential for helping communities, businesses and governments prepare for what's coming. As Britain experiences these climate extremes at first-hand, it is crucial to build resilience into plans for hotter and drier summers, and warmer wetter winters.

Jess Neumann is a trustee of River Mole River Watch, a water quality charity who work with, advise, and receive funding from environmental and conservation organisations and agencies, water companies, commercial services, local authorities and community groups. ​

Hannah Cloke advises the Environment Agency, the European Centre for Medium-range Weather Forecasts, the Copernicus Emergency Management Service, local and national governments and humanitarian agencies on the forecasting and warning of natural hazards. She is a member of the UKRI Natural Environment Research Council and a fellow of the European Centre for Medium-range Weather Forecasts. Her research is funded by the UKRI Engineering & Physical Sciences Research Council, the UKRI Natural Environment Research Council, the Foreign, Commonwealth & Development Office and the European Commission.

from the 2017 Pitchfork greatest-IDM-list (that ruffled a few feathers, that did, it was like negative catnip for nerds!  I had nothing to do with the selection, honest, apart from being one of many who sent their ballot in) 

Isolée: Rest (2000)

There was a moment, around the turn of the millennium, when IDM-aligned figures like Matthew Herbert started to embrace the slinky sensuality of the house template while weaving in glitches and clicks from the Oval/Fennesz world. The term "microhouse" was yet to be coined in 2000, but this is the undefined zone into which Rest slipped to wow the cognoscenti.

As the name hints, Isolée is a one-man-band, Rajko Müller. A German who spent much of his childhood in a French school in Algeria, his music is suitably cosmopolitan and border-crossing, connecting house and techno with '80s synthpop and discreet touches of hand-played world music, like the Afro-pop guitar figure that flutters intermittently through "Beau Mot Plage" like a darting-and-dipping hummingbird. Müller's sound works through the coexistence and interlacing of opposites: spartan and luxuriant, angular and lithe, crispy-dry and wet-look sleek, mechanistic and organic. Sensuous, ear-caressing textures juxtapose with abrasive tones as unyielding and chafing as a pair of Perspex underpants.

"Text," the absolute highlight, is mystifyingly only available on the original 2000 compact disc. It's an Op Art catacomb, a network of twisting tunnels, abrupt fissures, and pitch-shifted slopes that's deliriously disorienting but never loses its dance pulse. Other tracks offer an exquisite blend of delicacy and geometry, like origami made out of graph paper, or echo the Fourth World electro-exotica of Sylvian-Sakamoto and Thomas Leer. We Are Monster, Müller's 2005 follow-up, was excellent but a little too busy, losing the balance between minimal and maximal. So the debut remains Isolée's true claim to acclaim, laurels on which Müller could Rest forever. 

and my intro text

Party in My Mind: The Endless Half-Lives of IDM

At the outset, it needs to be said that "Intelligent Dance Music" is—ironically—kind of a stupid name. By this point, possibly even the folks who coined the term back in 1993—members of an online mailing list mainly consisting of Aphex Twin obsessives—have misgivings about it.

For as a guiding concept, IDM raises way more issues than it settles. What exactly is "intelligence" as manifested in music? Is it an inherent property of certain genres, or more about a mode of listening to any and all music? After all, it's possible to listen to and write about "stupid" forms of music with scintillating intellect. Equally, millions listen to "smart" sounds like jazz or classical in a mentally inert way, using it as a background ambience of sophistication or uplifting loftiness. Right from the start, IDM was freighted with some problematic assumptions. The equation of complexity with cleverness, for instance—what you might call the prog fallacy. And the notion that abandoning the functional, party-igniting aspect of dance somehow liberated the music and the listener: a privileging of head over body that reinforced biases ingrained from over 2,000 years of Western civilization, from Plato through St. Paul and Descartes to more recent cyber-utopians who dream of abandoning the "meat" and becoming pure spirit.

And yet, and yet... Dubious as the banner was (and is), under that aegis, some of the most fabulous electronic music of our era came into being. You could even dance to some of it! And while its peak has long since passed, IDM's half-lives echo on around us still, often in the unlikeliest of places: avant-R&B tunes like Travis Scott's "Goosebumps," tracks like "Real Friends" on The Life of Pablo, even moments on "The Young Pope" soundtrack.

You could say that the prehistory of IDM was the ambient chill-out fad of the first years of the '90s, along with certain ethereal and poignant tracks made by Detroit producers like Carl Craig. But really, it all kicks off in 1992 with Warp's first Artificial Intelligence compilation and its attendant concept of "electronic listening music," along with that same year's Aphex Twin album Selected Ambient Works 85-92 (released on Apollo, the ambient imprint of R&S Records). Warp swiftly followed up the compilation with the Artificial Intelligence series of long-players by Black Dog Productions, Autechre, Richard D. James (operating under his Polygon Window alias, rather than as Aphex), and others. Smaller labels contributed to the nascent network, such as Rephlex (co-founded by James) and GPR (which released records by The Black Dog, Plaid, Beaumont Hannant). But it was Warp that ultimately opened up the space—as a niche market as much as a zone of sonic endeavor—for electronic music that retained the formal features of track-oriented, rave floor-targeted dance but oriented itself towards albums and home listening. ELM, as Warp dubbed it—IDM, as it came to be known—was private and introspective, rather than public and collective.

Phase 2 of IDM came when other artists and labels rushed in to supply the demand, the taste market, that Warp had stirred into existence. Among the key labels of this second phase were Skam, Schematic, Mille Plateaux, Morr, and Planet Mu. The latter was the brainchild of Mike Paradinas, aka μ-Ziq— one of the original Big Four IDM artists, alongside Aphex, Autechre, and Black Dog. (Or the Big Six, if you count Squarepusher and Luke Vibert, aka Wagon Christ/Plug). Most of these artists knew each other socially and sometimes collaborated. All were British.

The two stages of IDM correlate roughly with a shift in mood. First-phase intelligent tended to be strong on melody, atmosphere, and emotion; the beats, while modeled on house and techno, lacked the "oomph" required by DJs, the physical force that would cause a raver to enthuse about a tune as bangin' or slammin'. Largely in response to the emergence of jungle, with its complex but physically coercive rhythmic innovations, Phase 2 IDM tended to be far more imposing and inventive with its drums; at the same time, the mood switched from misty-eyed reverie towards antic excess or whimsy. Often approaching a caricature of jungle, IDM tunes were still unlikely to get dropped in a main-room DJ's set. But by now, the genre had spawned its own circuit of "eclectronica" clubs on both sides of the Atlantic, while the biggest artists could tour as concert acts.

You could talk about a Phase 3 stage of IDM, when the music—not content with borrowing rhythmic tricks from post-rave styles like jungle—actually moved to assimilate the rudeboy spirit of rave itself: the original Stupid Dance Music whose cheesy 'n' mental fervor was the very thing that IDM defined itself again. This early 2000s phase resulted in styles like breakcore and glitchcore; these had an international following and, for the first time in IDM's history, a strong creative basis in the United States. Drawing on an array of street musics from gangsta to gabba, upstart mischief-makers like Kid606 and Lesser made fun of first-wave IDM's chronic Anglophilia, releasing tracks with titles like "Luke Vibert Can Kiss My Indie-Punk Whiteboy Ass" and "Markus Popp Can Kiss My Redneck Ass." Around this time, IDM pulled off its peak achievement of mainstream penetration when Radiohead released Kid A—an album for which Thom Yorke prepared by buying the entire Warp back catalog.

Seventeen years after that (albeit indirect) crossover triumph, the original IDM crew continues to release sporadically inspired work. Autechre's discography is quite the feat of immaculate sustain, Richard D. James unexpectedly returned to delightful relevance after a long silence, Boards of Canada remain a treasure. Label-wise, there's Planet Mu, who appear to be unstoppable, hurling out releases in a dozen different micro-styles. Overall, though, you'd have to say that IDM as a scene and a sound doesn't really exist anymore. But its spectral traces can be tracked all across contemporary music, from genius producers like Actress and Oneohtrix Point Never, to the abstruse end of post-dubstep, to Arca's smeared, gender-fluid texturology. Its reach goes way further: I'm constantly hearing IDM-like sounds on Power FM, the big commercial rap/R&B station here in L.A. At the end of the day, stupid name though it may be, IDM has given the world a stupefying immensity of fantastic music. And its reverberations have yet to dim.

Someone in Italy asked me questions about Selected Ambient Works 1985-1992 upon the occasion of its 30th Anniversary. This is what I said: 

There was this moment when some record labels astutely noticed that there was the beginnings of a demand for music that related to rave dancefloor sounds like techno but was designed for home listening - atmospheric, intricately textured, dreamy or pensive in mood. Artists had started to do tracks like that on the B-side of their dancefloor-target singles, or on the fourth track of an EP. Ambient interludes or stuff that had drums but wasn't as pounding and body- coercive as the kind of techno a DJ would play. The two main labels that really spotted this development and saw that it could be the basis of album-length works - and album-oriented careers - were Warp, in Sheffield, England, and R&S, in Belgium. It was R&S who put out the Aphex Twin's Selected Ambient Works 85-92 and then Richard D. James signed to Warp. He was also doing that kind of thing through the label he co-founded, Rephlex.

If the rave scene of the period was marked by ecstasy, what drug could be associated with IDM?

Cannabis - and for some LSD perhaps. It's also music that was associated with the after-party and the chill-out room - so music that fit the afterglow of MDMA but not so much the "I got dance like a maniac" phase. But overwhelming it's cannabis. That's why the robot on the front of Artificial Intelligence, the Warp compilation of Aphex-type music, is blowing smoke rings and puffing on a fat joint.

Why did IDM strike a chord with Silicon Valley geeks? And what effect did it have on ravers?

Electronic sound fits the aethetic of digital technology - and the musicians are using a lot of the same equipment as the Silicon Valley people. So there's an affinity there on both levels. Also I think Aphex Twin type music is ideal for people who are working at computers - it's hypnotic, it's rhythmic but not "get up dance NOW", there are patterns in it that are attractive to the ear but you can also tune out if you need to concentrate and it falls back very easily into being background music.

IDM didn't get a lot of play on the rave dancefloor, it might get some play in side-rooms where people want to chill out after frenzied dancing. But also there developed a scene of chill-out clubs, people sitting around and smoking while listening to ambient and floaty electronic music.

What memories do you have related to the release of the album?

It was probably my favorite album of that year and certainly the one I played the most. I must have played it about a hundred times at least. Because it was a CD I quickly reprogrammed it to my favorite five or six tunes. But the whole album is brilliant.

What are your favorite tracks on the tracklist? And why?

I can't be getting into reviewing the album, but my favorites are "Tha", "Pulsewidth", "We Are the Music Makers" and "Heliosphan". "Xtal" is really dreamy and conversely "Hedphelym" is a really scary bit of dark electronic music.

What was Aphex Twin trying to tell us with the quote from Willy Wonka and the Chocolate Factory, We Are The Music Makers?

Well, I think it's simply an honestly arrogant reflection of his self-belief - he knows he's a genius. So that's what he literally thinks musicians - the greatest musicians - do. They weave dreams.

In what elements does the album echo Brian Eno's ambient lesson?

Apart from "Xtal" and "Tha", it's not really an ambient album. It's only ambient in comparison to the hardcore techno, jungle and gabber of that time, which was breakneck fast. Most of the tracks have beats and some are pretty propulsive - "Pulsewidth". It's music that has a physical element and a relation to dance music, but it pulls at your body gently.

But you can use as background music, something to fill the air like fragrance, so in that sense it can be used like ambient music. It's a bit too insistent melodically and rhythmically to qualify as Eno's definition of ambient being "as ignorable as it is interesting".

What does it feel like to listen to the album again today thirty years later?

I haven't listened to it.

What distinguishes Aphex Twin from Autechre and Boards of Canada?

Aphex Twin versus Autechre - well, it's just much better music. It's not afraid to be beautiful and it connects to actual human emotions that are relatable. Autechre have interesting textures but I don't hear tunes like Richard D. James. Autechre have commanding rhythms but they're not groovy, whereas with Aphex Twin there's more of swing and feel - you can imagine dancing to them.

Aphex Twin versus Boards of Canada. Both are sublime melodists. But Aphex Twin has more interesting rhythms - again, you can imagine dancing to much of his music, whereas BoC is about the headnod. The way they use hip hop beats is very effective but as the brothers would admit, they have very little to do with club music. Aphex music is much more on the edge of rave.

Boards of Canada also have this consistently elegaic, nostalgic, wistful quality - the sense of childhood or a lost future. Aphex will go into that zone but generally sounds more aligned with the idea of the future or outer space, in that sense he's more of a techno artist. BoC are more like a shoegaze band that when into sampling and loops.

Are some elements of IDM present in the conceptronica today? Or in what music?

Where I hear the textures of IDM is actually in a lot of the last several years trap and mumble rap - Playboi Carti, Rich the Kid, Migos, Lil Uzi Vert, Travis Scott, Young Thug. You get the blurry, idyllic textures and the bittersweet melody-loops. Even the vocal presence, fed through the glittering and glitchy textures of Auto-Tune, sounds very IDM-compatible - dreamy, sparkly, passively swooning. That kind of trapadelic sound is almost the sole bastion of minimalism in modern popular music, which is otherwise overly dramatic and busy. 

Conceptronica has the thoughtfulness of certain kinds of IDM - like Oval or the label Mille Plateaux Fax - but it rarely has the kind of sheer melodic beauty of Aphex and Seefeel and Boards of Canada. Most of today's conceptual electronic artists are trying to reflect or deal with issues related to contemporary society - whether it's queer identity, racial injustice, rage against what's going on politically, or it's the stresses and distortions of personality caused by living on the internet and social media, that "always on" purgatory of today's existence. So the sounds they make are often not pretty and they are rarely relaxing in the way that Selected Ambient Works could be. They are often trying to put you through an extreme or challenging experience. Or they are trying to command your full attention. Either way it's not music - for me - that I can use in everyday life like I did the great Aphex Twin music.

introduction to Valerio Mattioli's book Exmachina: Storia musicale della nostra estinzione 1992 → which centers on Aphex Twin, Autechre, and Boards of Canada, and is a genius work that someone needs to translate into English

The idea that certain kinds of music have a special relationship with the Future has a long history and continues to make a potent appeal to our imaginations—as listeners and thinkers, and as music-makers too. 

In the early '90s, for instance, David Toop - a critic and a musician - wrote evocatively about a sensation of "nostalgia for the future" that wafted vaguely off the recordings of The Black Dog,  a British group associated with an emerging genre briefly identified as "electronic listening music" but later permanently rebranded as Intelligent Dance Music or IDM.  

The notion is not limited to professional analysts and champions of music. William Gibson, in his 1996 near-future novel Idoru, ventriloquizes his own insight through the character of Mr. Kuwayama, a Japanese entertainment executive, who observes that pop "is the test-bed of futurity".   Jacques Attali, in his classic 1977 treatise Noise: The Political Economy of Music, constructed an entire theory of music's evolution based around the belief that music is prophecy. But his argument is not so much about the formal properties of music (say, increased tolerance for dissonance, as the title Noise might suggest) as the structures and hierarchies that music engenders around itself. Attali's focus is on the modes of music making, distribution, and  consumption, which he sees as a preview of emerging forms of social organization. 

As someone who's dedicated his life to magnifying the power and significance of music, this kind of talk is very much to my taste: it stirs my patriotic feelings about music as an area of human existence. Through my personal history of listening and the accident of the era I was born in, I'm wired to seek out and recognize "the future" as it manifests in music, and equally primed to be entranced by arguments and narratives that present music as the herald of a world to come. 

So in many ways I'm an ideal reader for Valerio Mattioli's extraordinary book. It's a feat of hyper-interpretation that detects the flexing of the Zeitgeist within the discographies of just three operators, preeminent in a field that is relatively speaking a marginal sidestream of popular music, the aforementioned genre-not-genre known as IDM. To those who know them, Aphex Twin, Autechre, and Boards of Canada are gods, whose every last scrap of recorded work warrants decoding by the devotees. But even these cult believers will be taken aback by the intensity of Mattioli's scrutiny and the scale of the claims he makes. 

Exmachina is an archeology of the future embedded in music made a quarter-century or more ago; a future that is now our present. As with Attali's theory, that futurity is not so much in the surface trappings of the music - the coldness of synthesized sound, the domineering mechanistic rhythms - nor even in the imagery wrapped around it (often "futuristic" in a way that was even at the time fairly familiar and occasionally bordered on sci-fi kitsch). The futurism resides more in the deeper grammar of the music and the subjectivity that the music proposed, modeled, and elicited; a future that the music in some way trained the listener for, through the molding of perception and instilling of affect.  

Although the subject of Mattioli's book is the latent future in music some of which is 30 years old now, the future that has come true and is now our digital everyday, in other ways a big part of the pleasure of reading it for me is frankly nostalgic. Exmachina is a kind of time machine: it creates a delicious sensation of being plunged back into the  early '90s and immersed in all the wide-eyed excitement about the oncoming future that seemed to be manifesting itself through electronic dance and non-dance music, swept up once again in the fevered intellectual climate of that time. 

In 1992, computers had become widespread at work and in domestic spaces, but they didn't dominate our existence. Broadband was still many years away; dial-up was cumbersome and time-consuming, and when you got on the internet, there was hardly anything to see (which was just as well given how long it took a page to come up). Almost no one had email; mobile phones were still  in their infancy, in terms of widespread usage and the things you could do with them. None of the commonplace "superpowers" of today - wi-fi, search engines, Siri, social media, etc - existed, and some weren't even imagined. The digital realm existed in a cordoned-off zone of our existence. Yet precisely because of this, digital technology could then carry with it the scent of the future—an alluring or alarming aroma, depending on your inclinations. 

For most people, the places where you could get the most pungent advance whiff of how things were going to be were music and videogames. They offered the hardest hit of futurity that an ordinary person could access - and even more so if that person happened to make music themselves. As well as the Promethean rush and world-building buzz of grappling with machines and software that by today's standards are laughably rudimentary and clumsy, electronic musicians in the '90s were conceptually stimulated by emergent forms of technology outside of the sonic realm, including things that were then barely more than rumors or pipe dreams. Concepts like virtual reality and surveillance provided imagery for techno and jungle artists long before VR became commercially available or CCTV became omnipresent in some countries.

The polarities represented by VR and CCTV - the artificial pleasuredome  versus the Panopticon - relate to a curious bi-polar quality to the writing about digital culture during the 1990s. The naïve optimism and excessive dread were two sides of the same coin: a euphoria that flipped so easily into dysphoria. Reading theorists like Arthur Kroker, Paul Virilio, Donna Haraway, Sadie Plant, Erik Davis, Mark Dery, Jaron Lanier, Kodwo Eshun (and many of these names pop up in Mattioli's text), all it took was to tilt your angle of reading slightly and the exultation could be taken as denunciation. The fervor and fever of the prose would be the same in either the utopian or dystopian modalities. With some of these writers, it was never clear whether they were anticipating or flinching from the posthuman future. And some former evangelists have subsequently morphed into Jeremiahs, writing books with titles like You Are Not A Gadget or New Dark Age: Technology and the End of the Future.  

With music in particular, it was an exhilarating time to be a critic. For someone like myself or Kodwo Eshun or the young Mark Fisher and Steve Goodman (both then associated with the para-academic outfit Cybernetic Culture Research Unit), you rarely found yourself using reference points from history. You couldn't resort to coordinates based on existing earlier music because the new music was going right off the map.  The rapidly advancing and mutating tones and beats put pressure on you to generate new tropes and concepts. Hence the proliferation of  neologisms and invented genre terms. And the posthuman feeling of the music, its seeming absence of human touch, also seemed to demand a depersonalized analysis that attributed a purposive sentience to the way that individual tracks unfolded and that entire genres and scenes evolved.  Mattioli reinhabits this mindset, this ecstatically paranoid sense that the music is independent of human designs and has its own dark agenda. Humans didn't make the music; the music is remaking - and undoing - the human as a category. "We must change for the machines" and "human viewpoint redundant," as the video art / theory collective 0(rphan)d(rift>), put it in a 1995 book called Cyberpositive, a delirious collage-text infused with their experiences of going to techno clubs and being mangled mentally by the combination of loud music and hallucinogens, written in a tone of mystical masochism.   

Mattioli entered a similar kind of mind-state when writing Exmachina. But rather than reach it through immersion in the congested darkness of the rave space, it was the covid lockdown's enforced isolation that pushed him into a state of creative paranoia in which everything radiated significance and hitherto hidden patterns pulsated into visibility. Decades before wi-fi,  Baudrillard imagined the tele-connected citizen of the future as essentially living inside a satellite, a sealed pod in orbit around the void where society once was. Plugged into networks, this was a new kind of porous self, vibrating in a perpetual  "ecstasy of communication. All secrets, spaces and scenes abolished in a single dimension of information."  A desolated self "open to everything in spite of himself, living in the greatest confusion... He is now only a pure screen, a switching center for all the networks of influence." That describes how many of us having been living during 2020 and 2021. Mattioli took the pandemic trauma and used it to create an adventure close to home. This is the story of where the music took his mind. 

Last fall, I wrote about how the fear of AI was leading us to wall off the open internet in ways that would hurt everyone. At the time, I was worried about how companies were conflating legitimate concerns about bulk AI training with basic web accessibility. Not surprisingly, the situation has gotten worse. Now major news publishers are actively blocking the Internet Archive—one of the most important cultural preservation projects on the internet—because they're worried AI companies might use it as a sneaky "backdoor" to access their content.

This is a mistake we're going to regret for generations.

Nieman Lab reports that The Guardian, The New York Times, and others are now limiting what the Internet Archive can crawl and preserve:

When The Guardian took a look at who was trying to extract its content, access logs revealed that the Internet Archive was a frequent crawler, said Robert Hahn, head of business affairs and licensing. The publisher decided to limit the Internet Archive's access to published articles, minimizing the chance that AI companies might scrape its content via the nonprofit's repository of over one trillion webpage snapshots.

Specifically, Hahn said The Guardian has taken steps to exclude itself from the Internet Archive's APIs and filter out its article pages from the Wayback Machine's URLs interface. The Guardian's regional homepages, topic pages, and other landing pages will continue to appear in the Wayback Machine.

The Times has gone even further:

The New York Times confirmed to Nieman Lab that it's actively "hard blocking" the Internet Archive's crawlers. At the end of 2025, the Times also added one of those crawlers — archive.org_bot — to its robots.txt file, disallowing access to its content.

"We believe in the value of The New York Times's human-led journalism and always want to ensure that our IP is being accessed and used lawfully," said a Times spokesperson. "We are blocking the Internet Archive's bot from accessing the Times because the Wayback Machine provides unfettered access to Times content — including by AI companies — without authorization."

I understand the concern here. I really do. News publishers are struggling, and watching AI companies hoover up their content to train models that might then, in some ways, compete with them for readers is genuinely frustrating. I run a publication myself, remember.

But blocking the Internet Archive isn't going to stop AI training. What it will do is ensure that significant chunks of our journalistic record and historical cultural context simply… disappear.

And that's bad.

The Internet Archive is the most famous nonprofit digital library, and has been operating for nearly three decades. It isn't some fly-by-night operation looking to profit off publisher content. It's trying to preserve the historical record of the internet—which is way more fragile than most people comprehend. When websites disappear—and they disappear constantly—the Wayback Machine is often the only place that content still exists. Researchers, historians, journalists, and ordinary citizens rely on it to understand what actually happened, what was actually said, what the world actually looked like at a given moment.

In a digital era when few things end up printed on paper, the Internet Archive's efforts to permanently preserve our digital culture are essential infrastructure for anyone who cares about historical memory.

And now we're telling them they can't preserve the work of our most trusted publications.

Think about what this could mean in practice. Future historians trying to understand 2025 will have access to archived versions of random blogs, sketchy content farms, and conspiracy sites—but not The New York Times. Not The Guardian. Not the publications that we consider the most reliable record of what's happening in the world. We're creating a historical record that's systematically biased against quality journalism.

Yes, I'm sure some will argue that the NY Times and The Guardian will never go away. Tell that to the readers of the Rocky Mountain News, which published for 150 years before shutting down in 2009, or to the 2,100+ newspapers that have closed since 2004. Institutions—even big, prominent, established ones—don't necessarily last.

As one computer scientist quoted in the Nieman piece put it:

"Common Crawl and Internet Archive are widely considered to be the 'good guys' and are used by 'the bad guys' like OpenAI," said Michael Nelson, a computer scientist and professor at Old Dominion University. "In everyone's aversion to not be controlled by LLMs, I think the good guys are collateral damage."

That's exactly right. In our rush to punish AI companies, we're destroying public goods that serve everyone.

The most frustrating bit of all of this: The Guardian admits they haven't actually documented AI companies scraping their content through the Wayback Machine. This is purely precautionary and theoretical. They're breaking historical preservation based on a hypothetical threat:

The Guardian hasn't documented specific instances of its webpages being scraped by AI companies via the Wayback Machine. Instead, it's taking these measures proactively and is working directly with the Internet Archive to implement the changes.

And, of course, as one of the "good guys" of the internet, the Internet Archive is willing to do exactly what these publishers want. They've always been good about removing content or not scraping content that people don't want in the archive. Sometimes to a fault. But you can never (legitimately) accuse them of malicious archiving (even if music labels and book publishers have).

Either way, we're sacrificing the historical record not because of proven harm, but because publishers are worried about what might happen. That's a hell of a tradeoff.

This isn't even new, of course. Last year, Reddit announced it would block the Internet Archive from archiving its forums—decades of human conversation and cultural history—because Reddit wanted to monetize that content through AI licensing deals. The reasoning was the same: can't let the Wayback Machine become a backdoor for AI companies to access content Reddit is now selling. But once you start going down that path, it leads to bad places.

The Nieman piece notes that, in the case of USA Today/Gannett, it appears that there was a company-wide decision to tell the Internet Archive to get lost:

In total, 241 news sites from nine countries explicitly disallow at least one out of the four Internet Archive crawling bots.

Most of those sites (87%) are owned by USA Today Co., the largest newspaper conglomerate in the United States formerly known as Gannett. (Gannett sites only make up 18% of Welsh's original publishers list.) Each Gannett-owned outlet in our dataset disallows the same two bots: "archive.org_bot" and "ia_archiver-web.archive.org". These bots were added to the robots.txt files of Gannett-owned publications in 2025.

Some Gannett sites have also taken stronger measures to guard their contents from Internet Archive crawlers. URL searches for the Des Moines Register in the Wayback Machine return a message that says, "Sorry. This URL has been excluded from the Wayback Machine."

A Gannett spokesperson told NiemanLab that it was about "safeguarding our intellectual property" but that's nonsense. The whole point of libraries and archives is to preserve such content, and they've always preserved materials that were protected by copyright law. The claim that they have to be blocked to safeguard such content is both technologically and historically illiterate.

And here's the extra irony: blocking these crawlers may not even serve publishers' long-term interests. As I noted in my earlier piece, as more search becomes AI-mediated (whether you like it or not), being absent from training datasets increasingly means being absent from results. It's a bit crazy to think about how much effort publishers put into "search engine optimization" over the years, only to now block the crawlers that feed the systems a growing number of people are using for search. Publishers blocking archival crawlers aren't just sacrificing the historical record—they may be making themselves invisible in the systems that increasingly determine how people discover content in the first place.

The Internet Archive's founder, Brewster Kahle, has been trying to sound the alarm:

"If publishers limit libraries, like the Internet Archive, then the public will have less access to the historical record."

But that warning doesn't seem to be getting through. The panic about AI has become so intense that people are willing to sacrifice core internet infrastructure to address it.

What makes this particularly frustrating is that the internet's openness was never supposed to have asterisks. The fundamental promise wasn't "publish something and it's accessible to all, except for technologies we decide we don't like." It was just… open. You put something on the public web, people can access it. That simplicity is what made the web transformative.

Now we're carving out exceptions based on who might access content and what they might do with it. And once you start making those exceptions, where do they end? If the Internet Archive can be blocked because AI companies might use it, what about research databases? What about accessibility tools that help visually impaired users? What about the next technology we haven't invented yet?

This is a real concern. People say "oh well, blocking machines is different from blocking humans," but that's exactly why I mention assistive tech for the visually impaired. Machines accessing content are frequently tools that help humans—including me. I use an AI tool to help fact check my articles, and part of that process involves feeding it the source links. But increasingly, the tool tells me it can't access those articles to verify whether my coverage accurately reflects them.

I don't have a clean answer here. Publishers genuinely need to find sustainable business models, and watching their work get ingested by AI systems without compensation is a legitimate grievance—especially when you see how much traffic some of these (usually less scrupulous) crawlers dump on sites. But the solution can't be to break the historical record of the internet. It can't be to ensure that our most trusted sources of information are the ones that disappear from archives while the least trustworthy ones remain.

We need to find ways to address AI training concerns that don't require us to abandon the principle of an open, preservable web. Because right now, we're building a future where historians, researchers, and citizens can't access the journalism that documented our era. And that's not a tradeoff any of us should be comfortable with.

The Trump administration has fired one of the few remaining members of the administration that had even a passing interest in antitrust enforcement. DOJ antitrust boss Gail Slater has been fired from the administration after having repeated contentious run ins with key officials. It's the final nail in the coffin of the log-running lie that MAGA ever seriously cared about reining in unchecked corporate power.

Slater's post to Elon Musk's right wing propaganda website was amicable:

But numerous media reports indicate that Slater's sporadic efforts to actually engage in antitrust enforcement consistently angered a "den of vipers" (including AG Pam Bondi and JD Vance). Some of the friction purportedly involved Bondi being angry Slater was directing merging companies to deal directly with DOJ officials and not Trump's weird corruption colorguard. Other disputes were more petty:

"Tensions between Bondi and Slater extended beyond the merger. Last year, Slater planned to go to a conference in Paris - as her predecessors had done and as is required under a treaty to which the United States is a party.

But Bondi denied Slater's request to travel on account of the cost. When Slater went to the conference anyway, Bondi cancelled her government credit cards, the people said."

Mike and I had both noted that there had been signs of this fracture for a while. Slater was still a MAGA true believer. Before Google's antitrust trial last year, she gave a speech full of MAGA culture war nonsense about how Google was trying to censor conservatives. She seemed happy to use the power of the government to punish those deemed enemies of the MAGA movement for the sake of the culture war. However, what she seemed opposed to was the growing trend within the MAGA movement of deciding antitrust questions based on which side hired more of Trump's friends to work on their behalf.

First when the DOJ rubber stamped a T-Mobile merger some officials clearly didn't want to approve (the approval was full of passive aggressive language making it very clear the deal wasn't good for consumers or markets) there were signs of friction. Later when Slater wanted to block a $14 billion merger between Hewlett Packard Enterprise and Juniper Networks, it was clear that the Trump admin's antitrust policy was entirely pay for play, which was apparently a step too far for Slater. I've also heard some insiders haven't been thrilled with the Trump administration's plan to destroy whatever's left of media consolidation limits to the benefit of right wing broadcasters.

Amusingly and curiously, there are apparently people surprised by the fact that an actual antitrust-supporting Republican couldn't survive the grotesque pay-to-play corruption of the Trump administration. Including Politico, an outlet that spent much of the last two years propping up the lie that Trump and MAGA Republicans had done a good faith 180 on antitrust:

When I read that headline my eyes rolled out of my fucking head.

I had tried to warn people repeatedly over the last four years that the Trump support for "antitrust reform" was always a lie. Even nominally pro-antitrust reform officials like Slater tend to inhabit the "free market Libertarian" part of the spectrum where their interest in reining in unchecked corporate power is inconsistent at best. And even these folks were never going to align with Trump's self-serving corruption.

Yet one of the larger Trump election season lies was that Trump 2.0 would be "serious about antitrust," and protect blue collar Americans from corporate predation. There were endless lies about how MAGA was going to "rein in big tech," and how the administration's purportedly legitimate populism would guarantee somewhat of a continuation of the Lina Khan efforts at the FTC.

In reality MAGA was always about one thing: Donald Trump's power and wealth. These sorts of egomaniacal autocrats exploit existing corruption and institutional failure to ride into office on the back of fake populism pretending they alone can fix it, then once entrenched introduce something far worse. The administration's "anti-war," "anti-corporate," "anti-corruption" rhetoric are all part of the same lie.

It's worth reminding folks that MAGA's phony antitrust bonafides wasn't just a lie pushed by MAGA.

It was propped up by countless major media outlets (including Reuters, CNN, and Politico) that claimed the GOP had suddenly taken a 180 on things like monopolization. Even purportedly "progressive antitrust experts" like Matt Stoller tried to push this narrative, routinely hyping the nonexistent trust-busting bonafides of obvious hollow opportunists like JD Vance and Josh Hawley.

Surprise! That was all bullshit. Trump's second term has taken an absolute hatchet to federal regulatory autonomy via court ruling, executive order, or captured regulators. His "antitrust enforcers" make companies grovel for merger approval by promising to be more racist and sexist, or pledging to take a giant steaming dump on U.S. journalism and the First Amendment (waves at CBS).

Under Trump 2.0, it's effectively impossible to hold large corporations and our increasingly unhinged oligarchs accountable for literally anything (outside of ruffling Donald's gargantuan ego, or occasionally trying to implement less sexist or racist hiring practices). This reality as a backdrop to these fleeting, flimsy media-supported pretenses about the legitimacy of "MAGA antitrust" is as dystopian as it gets.

Anybody who enabled (or was surprised by) any of this, especially the journalists at Politico, should probably be sentenced to mandatory community service.

An upcoming update to Steam includes a helpful improvement to game reviews. As part of the Steam Client Beta update Valve released on February 12, users will now be able to attach information about their hardware specifications when they post a new game review or update an old one.

It's not uncommon to find negative reviews that complain about a game's performance, information that's hard to draw a conclusion from without knowing what kind of hardware the reviewer is using. With specs attached, the usefulness of complaints becomes a little bit easier to gauge. A game's sales performance and discoverability on Steam is heavily influenced by its review average, a data point Steam users sometimes manipulate for reasons unconnected to the quality of a game. Provided reviewers actually attach their specs — at least in the beta, the feature is entirely optional — Valve's mercurial reviews ecosystem could end up becoming more nuanced overall.

Alongside the new option in reviews, Valve is also experimenting with a way for users to share "anonymized framerate data" with the company. When framerate sharing is enabled, "Steam will collect gameplay framerate data, stored without connection to your Steam account but identified with the kind of hardware you are playing on," Valve says. The feature is specifically focused on devices running SteamOS, Valve's Linux-based operating system for the Steam Deck and some third-party handhelds. The extra information could help the company's attempts to improve game compatibility using software like Proton.

The beta update also includes bug fixes, and a tweak to how Valve collects feedback about whether a game should be Deck Verified. Now when Steam prompts you to confirm whether you agree with a game's rating, if you disagree, you can provide a reason as to why.

Stay calm, the ground has risen an inch across a 20-mile area around the northern edge of Yellowstone's caldera since last July.

This isn't the precursor to a massive cinematic moment. Yellowstone hasn't erupted for 70,000 years, and it seems unlikely to pop off any time soon. — Read the rest

The post Uplift being tracked at Yellowstone's caldera appeared first on Boing Boing.

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Judge Boasberg got his vindication in the frivolous "complaint" the DOJ filed against him, and now he's calling out the DOJ's bullshit in the long-running case that caused them to file the complaint against him in the first place: the JGG v. Trump case regarding the group of Venezuelans the US government shipped off to CECOT, the notorious Salvadoran concentration camp.

Boasberg, who until last year was generally seen as a fairly generic "law and order" type judge who was extremely deferential to any "national security" claims from the DOJ (John Roberts had him lead the FISA Court, for goodness' sake!), has clearly had enough of this DOJ and the games they've been playing in his court.

In a short but quite incredible ruling, he calls out the DOJ for deciding to effectively ignore the case while telling the court to "pound sand."

On December 22, 2025, this Court issued a Memorandum Opinion finding that the Government had denied due process to a class of Venezuelans it deported to El Salvador last March in defiance of this Court's Order. See J.G.G. v. Trump, 2025 WL 3706685, at *19 (D.D.C. Dec. 22, 2025). The Court offered the Government the opportunity to propose steps that would facilitate hearings for the class members on their habeas corpus claims so that they could "challenge their designations under the [Alien Enemies Act] and the validity of the [President's] Proclamation." Id. Apparently not interested in participating in this process, the Government's responses essentially told the Court to pound sand.

From a former FISC judge—someone who spent years giving national security claims every benefit of the doubt—"pound sand" is practically a primal scream.

Due to this, he orders the government to work to "facilitate the return" of these people it illegally shipped to a foreign concentration camp (that is, assuming any of them actually want to come back).

Believing that other courses would be both more productive and in line with the Supreme Court's requirements outlined in Noem v. Abrego Garcia, 145 S. Ct. 1017 (2025), the Court will now order the Government to facilitate the return from third countries of those Plaintiffs who so desire. It will also permit other Plaintiffs to file their habeas supplements from abroad.

Boasberg references the Donald Trump-led invasion of Venezuela and the unsettled situation there for many of the plaintiffs. He points out that the lawyers for the plaintiffs have been thoughtful and cautious in how they approach this case. That is in contrast to the US government.

Plaintiffs' prudent approach has not been replicated by their Government counterparts. Although the Supreme Court in Abrego Garcia upheld Judge Paula Xinis's order directing the Government "to facilitate and effectuate the return of" that deportee, see 145 S. Ct. at 1018, Defendants at every turn have objected to Plaintiffs' legitimate proposals without offering a single option for remedying the injury that they inflicted upon the deportees or fulfilling their duty as articulated by the Supreme Court.

Boasberg points to the Supreme Court's ruling regarding Kilmar Abrego Garcia, saying that it's ridiculous that the DOJ is pretending that case doesn't exist or doesn't say what it says. Then he points out that the DOJ keeps "flagrantly" disobeying courts.

Against this backdrop, and mindful of the flagrancy of the Government's violations of the deportees' due-process rights that landed Plaintiffs in this situation, the Court refuses to let them languish in the solution-less mire Defendants propose. The Court will thus order Defendants to take several discrete actions that will begin the remedial process for at least some Plaintiffs, as the Supreme Court has required in similar circumstances. It does so while treading lightly, as it must, in the area of foreign affairs. See Abrego Garcia, 145 S. Ct. at 1018 (recognizing "deference owed to the Executive Branch in the conduct of foreign affairs")

Even given all this, the specific remedy is not one that many of the plaintiffs are likely to accept: he orders that the US government facilitate the return of any of those who want it among those… not in Venezuela. But, since most of them were eventually released from CECOT into Venezuela, that may mean that this ruling doesn't really apply to many men. On top of that Boasberg points out that anyone who does qualify and takes up the offer will likely be detained by immigration officials upon getting here. But, if they want, the US government has to pay for their plane flights back to the US. And, in theory, the plaintiffs should then be given the due process they were denied last year.

Plaintiffs also request that such boarding letter include Government payment of the cost of the air travel. Given that the Court has already found that their removal was unlawful — as opposed to the situation contemplated by the cited Directive, which notes that "[f]acilitating an alien's return does not necessarily include funding the alien's travel," Directive 11061.1, ¶ 3.1 (emphasis added) — the Court deems that a reasonable request. It is unclear why Plaintiffs should bear the financial cost of their return in such an instance. See Ms. L. v. U.S. Immig. & Customs Enf't ("ICE"), 2026 WL 313340, at *4 (S.D. Cal. Feb. 5, 2026) (requiring Government to "bear the expense of returning these family units to the United States" given that "[e]ach of the removals was unlawful, and absent the removals, these families would still be in the United States"). It is worth emphasizing that this situation would never have arisen had the Government simply afforded Plaintiffs their constitutional rights before initially deporting them.

I'm guessing not many are eager to re-enter the US and face deportation again. Of course, many of these people left Venezuela for the US in the first place for a reason, so perhaps some will take their chances on coming back. Even against a very vindictive US government.

The frustrating coda here is the lack of any real consequences for DOJ officials who treated this entire proceeding as a joke—declining to seriously participate and essentially daring the court to do something about it. Boasberg could have ordered sanctions. He didn't. And that's probably fine with this DOJ, which has learned that contempt for the courts carries no real cost.

Unfortunately, that may be the real story here. Judge gets fed up, once again, with a DOJ that thumbs its nose at the court, says extraordinary things in a ruling that calls out the DOJ's behavior… but does little that will lead to actual accountability for those involved, beyond having them "lose" the case. We've seen a lot of this, and it's only going to continue until judges figure out how to impose real consequences for DOJ lawyers for treating the court with literal contempt.

BYD recently entered a partnership with the Manchester City soccer (or football) club. This is one of the top teams in the Premier League. The partnership includes supplying BYD and DENZA vehicles, along with ESS batteries. In the heavily tribal world of soccer, this will likely gain some sales from ... [continued]

The post Could BYD's Manchester City Partnership Indicate A Scandinavian Sales Offensive? appeared first on CleanTechnica.

When I was in elementary school, my classmates and I learned how New England mill owners sited their factories near mighty rivers. We know now those factories dumped their waste directly into public waters without any consideration to the pollution and damage they were causing. Sulfite and phosphorus. Sulfuric acid, ... [continued]

The post Blue Origin Wants To Pollute A Pristine Florida Waterway — Just Say No appeared first on CleanTechnica.

The Florida legislature is considering bills that will ban local climate mitigation strategies it says are too costly.

The post Florida Legislation Would Ban Local Climate Policies appeared first on CleanTechnica.

New York, NY (February 13, 2026) - Following North America's only MotoGP Round at Circuit of the Americas, Aprilia returns to Austin to host Aprilia Racers Days at COTA, taking place Monday, March 30th, and Tuesday, March 31st, 2026 - delivering an unmatched post-race riding experience at one of the most iconic circuits in the world.

Watch your heroes race on Sunday, then join them on track Monday!

Monday, March 30th will be an exclusive VIP experience, featuring invited guests, special access, and the presence of Aprilia MotoGP riders and members of Aprilia Racing and Trackhouse MotoGP Team. This intimate day is designed to bring participants closer than ever to the passion, performance, and people behind Aprilia's racing DNA.

Set within the MotoGP race garages, Aprilia Racers Days at COTA offers a truly unheard-of environment. Rider groups are limited to just 45 participants, maximizing track time, exclusivity, and the adrenaline that comes from riding the Circuit of the Americas immediately following MotoGP race weekend. As always, each ticket includes complimentary professional photography and lunch, along with the opportunity to ride select models from the 2026 Aprilia lineup on track. This is more than a track day - it's a rare opportunity to ride, connect, and experience Aprilia in its element.

Event Details - VIP Experience (Monday, 3/30)

● Price: $1,500

● Aprilia Racing Team in Attendance

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● Communal Garages (first come, first served)

● 1 Demo Ride Per Guest

● Complimentary Lunch

● Complimentary Photography

● Aprilia Gift Bag Including Commemorative T-Shirt

Event Details - Standard ARD Ticket (Tuesday, 3/31)

● Price: $850

● Communal Garages

● 1 Demo Ride Per Guest

● Complimentary Lunch

● Complimentary Photography

More Than Just a Ride - An Unmatched Experience

Aprilia Racers Days is about more than just riding - it's about precision, passion, and performance. With expert coaching, professional photography, and direct support from Aprilia-trained technicians and brand representatives, every rider gets an immersive and tailored experience. Enthusiasts can ride the full Aprilia street lineup, including the RSV4, Tuono V4, RS 660, Tuono 660, and RS 457 or bring their own motorcycles for additional track time in skill-based riding groups.

Sign Up for the Aprilia Racers Days Experience.

Aprilia Racers Days at Circuit of the Americas 2026 is an unmissable event for riders looking to elevate their skills and experience the thrill of Aprilia's high-performance motorcycles. Spaces are limited, so secure your spot today!

For registration and more details, visit: https://aprilia.ticketspice.com/cota-2026

For any additional questions, please contact marketing@us.piaggio.com.

Aprilia Racers Days events will be supported directly by Aprilia trained technicians and product specialists, as well as partners Pirelli, Dainese and AGV to offer the best on track experience with expert advice, performance and protection. The cost of participation in the events will not only qualify for an incredible track day experience with your existing motorcycle, but also include a VIP Aprilia Racers Days package, with ability to demo a new Aprilia for one of the track day sessions, equipped with Pirelli performance tires. Additionally, activities will include coaching, event photography, and an included lunch.

The post Aprilia Racers Days Returns to COTA for Two-Day Event appeared first on Roadracing World Magazine | Motorcycle Riding, Racing & Tech News.

Climate campaign group Fossil Free London has held a Valentine's Day themed protest in St. Dunstan's in the East churchyard. The stunt comes ahead of the UK government's decision on whether to approve or reject the Rosebank oil field.

Campaigners stood in couples - wearing suits and pastel frilly dresses - holding up oversized love heart sweet placards that read: 'Save Me', 'Hot Earth' and 'Stop Rosebank'.

Rishi Sunak's Conservative government originally approved the oil field in 2023. But the Scottish courts overturned this decision in January 2025. The ruling demanded that Rosebank's primary owner, Norwegian state oil giant Equinor, provide a more detailed assessment of the project's full climate impacts.

Burning Rosebank's total estimated oil and gas reserves would emit more carbon dioxide than the world's 28 lowest-income countries combined release annually.

Equinor would sell the vast majority of Rosebank's oil on the international market for export. It would neither lower energy bills nor increase energy security in the UK. Meanwhile, UK public money would pick up the bill for most of its development costs.

Ahead of Equinor's profits announcement at the start of February, Fossil Free London staged a protest over its role in Rosebank.

Most of Rosebank's profits would flow into Norway's substantial sovereign wealth fund. This potential megapolluter could also send profits of over £200m to the Delek Group. Delek is an Israeli fuel conglomerate that the UN has flagged for human rights violations in Palestine.

Robin Wells, Director of Fossil Free London, said:

This Valentine's Day the U.K. government will be deciding whether Rosebank is hot…or not. But we know that Rosebank will be too hot to handle…Labour, save us from all new oil projects, because Rosebank will kill millions!

Featured image via Fossil Free London

By The Canary

The US armada president Donald Trump spent months assembling in the Caribbean will return to the Middle East. The news comes after reports that Venezuela had shipped oil to Israel for the first time in nearly two decades.

The aircraft carrier USS Gerald R. Ford arrived in the Caribbean in November 2025. The Ford and her fleet were one facet of a massive military build-up. The US also rebuilt regional bases and carried out drone strikes on alleged 'narco-terrorist' boats.

It was all about drugs, the US administration had claimed. That argument has fallen apart since the US kidnapped the country's president Nicolas Maduro on 3 January. Nearly every reference to the drug cartel Maduro supposedly ran was from dropped from the US indictment.

The New York Times said on 13 February:

The Ford strike group's new orders will have it joining the U.S.S. Abraham Lincoln carrier strike group in the Persian Gulf as part of President Trump's resurgent pressure campaign against Iran's leaders.

They added:

Mr. Trump had indicated earlier this week that he wanted to send a second carrier to the region, but neither he nor the Navy had identified the vessel.

It appears the US has achieved its immediate military aims in Venezuela.

Maduro's successor Delcy Rodriguez - who seems more at ease with US empire - has been in charge since Maduro was snatched. Though Venezuelan officials said the reports of oil shipments to Israel were "fake".

But Bloomberg reported on 10 Feb:

The oil is being transported to Bazan Group, the Mediterranean country's top crude processor, people with knowledge of the deal said, asking not to be identified because the information isn't public.

But details are still hazy and those involved are staying tight lipped:

Bazan, also known as Oil Refineries Ltd, declined to comment. Israel's energy ministry declined to comment on where the country gets its crude from.

The US carrier group's Caribbean mission seems to be done - for now. With a more amenable leader in place in Venezuela, the warships are being sent back to the the Gulf region to deal with Iran. The Ford will join the USS Abraham Lincoln carrier fleet in the area.

As the Canary argued on 29 January, a strike on Iran is far more complicated than the attack on Venezuela. The fact remains, however, that while the US is an empire in decline it still has a long reach. And it still has a president willing to threatened, cajole, and kill to meet his ever-changing imperial whims.

Featured image via the Canary

By Joe Glenton

The image encapsulates two years of heavy waiting in Gaza. Two years in which the story remained suspended between loss and hope, between unanswered questions and a small hope that the absent ones would return to be buried as befits human beings. Only today was the final scene completed: a funeral prayer that was two years late.

In the front row stands the father, Fadi Al-Baba. Those who know him do not need to ask him how he feels. His eyes say it all. In front of him is the white shroud, inside which lie his wife and four children who came to him after a long wait. Four siblings, who were a promise of a life that would make up for years of patience, turned into a memory buried by Israel's genocide under its rubble, before the earth returned them in a small white bag.

The loss was not a fleeting moment. It was an extended period of time. From the day of their martyrdom until the day of their burial, the father lived on the edge of absence; no proper farewell, no grave to visit. Today, as he raises his hands in funeral prayer, it seems as if that first moment is returning with all its weight. As if two years have shrunk into a single tear.

The white shroud in the photo is not just a piece of cloth. It is the final resting place for five souls. It's a witness to a family story whose first chapter was never completed. It is a summary of questions bigger than a photo: How can such a long wait end in silence? How can a father say goodbye to his children together, after dreaming of them together?

The stories of Gaza never end, because they are never told in full. Every photograph opens the door to a postponed story, and every delayed funeral reveals a period of pain that remains unwitnessed. In this photograph, we see only a white shroud and a grieving father, but behind them lies a history of longing, deprivation and waiting.

The scene ends with a final burial, but it does not end the story.

Some losses are not buried, but remain alive in the memory of a father who, whenever he sees four children together, will remember that he had four… who returned to him in a single shroud.

Featured image via the Canary

By Alaa Shamali

Writer Joseph Tucker is working on a drama about Jeremy Corbyn's leadership of the Labour Party. The script will draw on Alex Nunns' book The Candidate and Paul Holden's recent release, The Fraud. To round out his research, he's appealing for additional eye witnesses.

Under the working title A Very British Sabotage, the drama promises to lay bare:

the subversion of UK democracy by vandal elements within the Labour Party. They prioritised sabotage over winning an election and governing the UK at a critical point.

Both Nunns and Holden wrote about how Corbyn and his team faced huge opposition from within their own party. Holden, writing more recently, was able to show how Keir Starmer succeeded Corbyn with the grubby help of Morgan McSweeney.

Clearly the stage is set for all manner of duplicity, intrigue and back-stabbing.

Tucker has already undertaken a great deal of research but he'd still like to obtain more contextual information. To this end he's put out an appeal for eye-witness accounts from anyone who was in the thick of it.

I am producing a drama exploring Jeremy Corbyn's tenure as leader of the Labour Party, based on two books, The Candidate (Alex Nunns) and The Fraud (Paul Holden).

As part of my research I wish to speak confidentially with people who worked in Labour Party HQ (Southside) 2015-19. Accounts will inform dramatic reconstruction and institutional context. Identities will be handled with care. Anonymity and attribution will always be discussed and agreed in advance. All information shared will be subject to verification and corroboration.

Are you former:

• Political communications staff?
• Policy or governance staff?
• Junior employees with lived experience of internal culture?

A formal legal framework is in place to protect sources and the materials shared during this process. Material provided will not be published as standalone news reporting.

If this sounds like you, please email: Southside@MaximumVolume.com

Production on A Very British Sabotage should be beginning soon. So if you've got a story to share, please get in touch pronto. Otherwise, keep an eye out for further updates as the project moves towards release.

Featured image via the Canary

By The Canary

Several UK companies may be breaking the law over their exclusive use of the Nimbus Disability Access Card.

Had it confirmed by someone who knows the Equality Act that venues who only accept the Nimbus card are breaching the act.

A blue badge, PIP/DLA letter, letter from a GP/Consultant or any other form of proof should not be refused under the act.

— Disability Rebellion (@DRDisabilityReb) February 11, 2026

Under the Equality Act [2010, s.20], organisations must make reasonable adjustments for disabled people to ensure they are not at a "substantial disadvantage".

The law requires organisations to do this, regardless of whether a disabled person has paid for an access card or other third-party subscription.

However, some UK organisations are now only accepting Nimbus Access Cards as proof of disability, including Legoland Windsor, Alton Towers, and Thorpe Park. 

Basically, everything that Merlin Entertainment UK owns is now only accessible to disabled people who pay for an Access Card. There's no surprise that the same company that mistreats penguins is also mistreating disabled people.

Also on the list are Wembley Stadium, Download Festival, York Barbican, York Maze, and MCM Comic Con. And they're just the ones we've found in an hour.

Of course, this is already causing problems for both disabled people and their carers.

After 20 years as a carer to a severely disabled young person, I'm now facing barriers I've never faced before. Everywhere I go, the answer is "Nimbus."

No card? No carer entry. No PIP. No Blue Badge. No Carer's Allowance accepted.

That's gatekeeping & it's deeply worrying.

Robert F Kennedy Jr just told equally off-the-wall podcast mullet Theo Von he used to snort cocaine off toilet seats. Which is, uh, fine. But the conspiracist buffoon RFK, who thinks tap water turns kids gay — or something like that, I've lost track — was actually using this example to tell us something TRULY WEIRD. 

RFK, as he is known, was actually justifying his inane anti-intellectualism by saying he does not fear germs BECAUSE he used to snort cocaine of a toilet seats.

Reminder: this guy is in charge of what passes for healthcare in America.

Dear Lord…

Kennedy was talking about addiction. Both he and Theo Von openly talk about addiction. And addiction is not a joke. Yet somehow they managed to make a mockery of the topic:

I'm not scared of a germ… I used to snort cocaine off of toilet seats.

Adding:

I know this disease will kill me.

They were complaining that Covid-19 meant they couldn't attend their addiction meetings. Kennedy told Von:

Like, if I don't, if I don't treat it, which means for me going to meetings every day. It's just bad for my life.

And in some level they have a point. Covid hit all kinds of people very hard: people with addiction issues, kids, older people, mentally ill people, women locked into abusive relationships and so on.

But the messenger matters.

RFK is known for making wild claims about medicine — something he appears to known (somehow) less than nothing about. Forbes did a useful list of some of his most colourful fantasies. These include that old classic that vaccines cause autism. He said the US government:

knowingly allowed the pharmaceutical industry to poison an entire generation of American children.

Okay, toilet boy.

RFK once said Bill Gates exaggerated Covid to push vaccines as part of what he called:

a historic coup d'état against Western democracy.

Hmm…

He also claimed Covid targeted people ethnically:

COVID-19 is targeted to attack Caucasians and Black people.

And that:

the people who are most immune are Ashkenazi Jews and Chinese.

Nice eugenics there, big man.

Kennedy also suggested AIDS does not cause HIV. That 5G gives you cancer. And that raw milk — knew it was in here somewhere — is fine. Also that fluoride:

is an industrial waste associated with arthritis, bone fractures, bone cancer, IQ loss, neurodevelopmental disorders, and thyroid disease.

IQ loss, hey. Are you sure it was just cocaine on the toilet seat, mate? He also thinks that mass shooting are caused by anti-depressants.

Looking at the state of Trump's cabinet picks, we probably shouldn't be surprised this lad made the cut. Yet somehow even with all we know about US politics generally — and especially US politics under Trump — RFK still manages to come out with something so completely off-piste than you have to just stop and take it in.

Featured image via YouTube/the Canary

By Joe Glenton

Two Israel lobby groups have reacted with horror to the High Court's decision today, Friday 13 February, to unban Palestine Action, a group that specialises in sabotaging Israeli weapons factories.

What a shock.

A panel of High Court judges have today declared the Starmer regime's 'terrorist' ban on Palestine Action to be unlawful and a breach of UK human rights. The so-called 'Jewish Leadership Council' (JLC) and the 'Board of Deputies' (BOD) have expressed their dismay.

Unsurprisingly, it was expressed in the most weaselly way possible. T

he groups start by claiming to respect the need for judicial oversight, lie that Palestine Action attacked "Jewish communal life" and turn the whole thing into - you've guessed it - an attack on the decision of the judicial oversight:

We recognise the vital importance of judicial oversight in matters of national security and civil liberties. However, the practical impact of Palestine Action's activities on Jewish communal life has been significant and deeply unsettling.

On top of everything else, this antisemitic statement doesn't explain how a group that only targets weapons factories and other support for Israel's genocide and war crimes is supposedly impacting "Jewish communal life".

And if this wording sounds a bit familiar, it's probably because it basically recycles the BOD's statement and logical gymnastics of just over a week ago - 4 February 2026 - when a jury acquitted six Palestine Action activists who were viciously attacked by security guards as they tried to disable an Israeli murder-drone factory in Bristol.

"While it is important to respect the integrity of the judicial process", the BOD said, it clearly didn't think it important enough to actually apply to the jury's decision:

We are concerned by the troubling verdicts acquitting members of Palestine Action, an organisation that has been proscribed as a terrorist group, and whose activities have included targeting businesses linked to the Jewish community in London and Manchester.

Hmmm. And while both the BOD and JLC present themselves as "Jewish" and "communal", the situation is not as clean as they paint it. The BOD has managed to remain a charity (though also a limited company), even though its core purpose is explicitly political - and explicitly to promote the interests of a particular foreign power.

The BOD's constitution states that it exists to do everything it can to advance Israel's "standing":

Take such appropriate action as lies within its power to advance Israel's security, welfare and standing.

The 'mission statement' of the JLC, another limited company rather than actually a 'council', says that its job is to make the UK 'Jewish community' is engaged with Israel". JLC played a role in a 2025 smear campaign against then-new education union leader Matt Wrack, a vocal critic of Israel. It was also heavily involved in the efforts of Morgan McSweeney's so-called 'Labour Together' to destroy the Canary.

Both are prominent players in the UK Israel lobby that has boasted of its role in banning Palestine Action. As has been demonstrated, they were already trying to undo the decision of a British jury to suit Israel's interests. Not quite such a shock, then, that they are now clutching pearls over yet another court setback.

Featured image via the Canary

By Skwawkbox

The Department for Work and Pensions (DWP) has been forced to admit that a large number of privately contracted benefit assessors have not received safeguarding training.

This puts vulnerable disabled claimants at risk of harm whilst navigating the cruel benefits system, which has already claimed so many lives.

In May 2025, a report from the Work and Pensions Committee on safeguarding vulnerable adults called for a new independent organisation to be set up. The body would bring to light the number of claimants who had been put at risk by the DWP.

At the time, chair of the committee Debbie Abrahams said

Deep-rooted cultural change of the DWP is desperately needed to rebuild trust and put safeguarding at the heart of policy development.

Then in December 2025, in a written statement, DWP chief Pat McFadden gave an update to the House of Commons. He said he wished to "reaffirm" his department's commitment to safeguarding and their responsibility to protect claimants.

In his statement McFadden said:

Our immediate priority is to make safeguarding everyone's business, with clear steps to recognise, respond to, and report concerns.

Mcfadden pledged that all clinical roles will have mandatory Level 3 safeguarding training. He said:

Safeguarding must be a system-wide endeavour. It requires transparency, accountability, and collaboration across Government and with partners.

However, as the WPC heard this week, that is not the case. Employment Minister, Diana Johnson, was giving evidence on the state of employment support for disabled people when she shared an update on safeguarding vulnerable claimants.

As is typical with this Labour government she started by blaming the Tories, as if Labour haven't been in power for a year and a half. In which time they've either done fuck all or made disabled people's lives worse with their policies.

Johnson said she was shocked that the last lot:

Didn't think that safeguarding was an issue that they needed to be concerned about

Which is all well and good but your lot haven't done much better Diana, despite you claiming that "things have moved on considerably"

As proof of this she shared that while all of the DWP's own clinical staff get mandatory Level 3 training, only 1 in 5 of contracted staff get the same level.

This means staff employed by Maximus, Capita, Serco, and Ingeus who inflict cruel benefit assessments on disabled people aren't trained in recognising harms or risks to life. These companies carry out hundreds of thousands of PIP and WCA assessments every year.

She blamed this huge oversight on the fact that there's such a high turnover rate of staff, meaning there's not enough time for training.

She said:

In terms of our contractors that we use in the DWP, we hover around 80 per cent in terms of the training at level three because of the churn and the turnover of those individuals

In January, the DWP published a report from 2022 which showed that 52% of new benefits assessors didn't make it through their first year. Assessors reported feeling "despised" and like "cogs in machines". So it's no wonder there's such a high staff turn over.

One of the respondents from the survey reported "working herself to death", as she had no choice but to work from 5am to 10pm. This will only be ramped up by the DWP's desperate attempts to massage the numbers of the PIP reassessment backlog.

As the Canary previously reported, the department diverted staff from dealing with new claims to get the backlog down. While the DWP got to brag that it carried out 96% more reviews in quarter 3 of 2024, 40,000 new claimants were kept waiting. As a recent report found, delays to PIP are endangering people's lives and costing the DWP too.

It's absolutely unacceptable that the people who are supposed to determine whether disabled people get the support they need are not trained to protect vulnerable people. In a department that is responsible for so many deaths, this seems like a deliberate, violent act. But it's just another in a long line for the DWP.

It's also getting beyond fucking old that the now Labour led DWP are still blaming the Tories. Not only have they been in power for a year and a half, but in that short time they've planned cuts and policies which are even more dangerous to disabled people.

You don't get to act like our saviours whilst you're building the gallows yourself.

Featured image via the Canary

By Rachel Charlton-Dailey

Donald Trump has launched an attack on the very foundation of US climate regulation. And it could represent his biggest assault yet, leading to both higher greenhouse gas emissions and an increase in health risks for ordinary people. In the UK, meanwhile, Reform continues to mimic Trump's anti-climate agenda.

Both Trump's regime and its critics have noted the scale of this move, calling it either the "largest deregulation" ever in US history or:

the most significant rollback on climate change yet

As the BBC reports, Trump has revoked a key:

scientific ruling that underpins all federal actions on curbing planet-warming gases.

The "endangerment finding" of 2009 ruled that numerous greenhouse gases are "a threat to public health". And this conclusion turned into:

the legal bedrock of federal efforts to rein in emissions, especially in vehicles.

According to the Environmental Defense Fund's Peter Zalzal, Trump's move could cost ordinary people more in:

additional fuel costs to power these less efficient and higher polluting vehicles

It could also:

result in up to 58,000 additional premature deaths, 37 million more asthma attacks

The winners, of course, would be billionaire polluters. And they're celebrating twice as hard, because Trump is also increasing funding for coal facilities and pushing the US military into deals with power plants using coal. Coal stocks are predictably doing well as a result.

"Trump's EPA repeals science" sums it up. pic.twitter.com/elI4YYIQVc

— Jeff (@jepaco) February 13, 2026

Today, the US @EPA rescinded its 2009 endangerment finding: a drastic move even in the context of the Trump administration's larger deregulatory and anti-climate agenda.

This move poses a particular threat to reproductive rights. Read more: https://t.co/CckiPuttHC

— Human Rights Watch (@hrw) February 12, 2026

Reform UK, meanwhile, is busy mimicking Trump. And it would do that, because it's firmly in the pockets of the billionaire polluters mentioned above. Currently, Reform's anti-climate agenda is focusing on scamming people into thinking reducing greenhouse gas emissions is bad.

The party hasn't just been pushing climate-change denialism and dangerous industries like fracking. It's also been repeating over and over again its attacks on the global effort to limit carbon emissions ('Net Zero'):

Ed Miliband and Vladimir Putin are the same, in terms of your electricity bill

Superb by @KathrynPorter26

Net Stupid Zero is driving bills UP

Not down

We have been conned and misled

https://t.co/IENYf5oDrS

— Richard Tice MP

The Wall Street Journal reports staff beratings, polygraph tests, showboat raids, and a Coast Guard pilot allegedly fired because someone didn't pack the secretary's favorite blanket.

The Department of Homeland Security under Noem and Lewandowski is apparently run like a YouTube influencer's channel. — Read the rest

The post Noem and Lewandowski turned Homeland Security into a reality show with poor trigger discipline appeared first on Boing Boing.

I have been worried about zoonotic disease since COVID19 and I know - duh, we all have - but before the pandemic I never gave it much thought. Now its easily in my top 5 concerns. This article talks about the growing population zones of one of the deadliest creatures humans have ever known.

Zoonotic disease in general is terrifying.

One of my favorite books is Rabid. It covers, well, rabies.

Another great book on this topic is Spillover, practically a companion to the famous collapse book Overshoot by Catton.

The Hot Zone was also great, dealing mostly with Ebola but with a general warning - this is going to happen again, far sooner than we will be ready. There's a TV show by the same name if you want more drama than detail.

New vaccines and new methods for producing them are very encouraging. I get every "jab" I'm told to every year. I may not think too much about my own life but that is no excuse to put others in danger.

At the very least - get vaccinated so you can live long enough to keep criticizing vaccines lmao