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In November 2020, the AI group DeepMind announced it had developed a program called AlphaFold that could rapidly predict this information using an algorithm. Since then, it has been crunching through the genetic codes of every organism that has had its genome sequenced, and predicting the structures of the hundreds of millions of proteins they collectively contain.

Last year, DeepMind published the protein structures for 20 species – including nearly all 20,000 proteins expressed by humans – on an open database. Now it has finished the job, and released predicted structures for more than 200m proteins.

“Essentially, you can think of it as covering the entire protein universe. It includes predictive structures for plants, bacteria, animals, and many other organisms, opening up huge new opportunities for AlphaFold to have an impact on important issues, such as sustainability, food insecurity, and neglected diseases,”

In May, researchers led by Prof Matthew Higgins at the University of Oxford announced they had used AlphaFold’s models to help determine the structure of a key malaria parasite protein, and work out where antibodies that could block transmission of the parasite were likely to bind.

“Previously, we’d been using a technique called protein crystallography to work out what this molecule looks like, but because it’s quite dynamic and moves around, we just couldn’t get to grips with it,” Higgins said. “When we took the AlphaFold models and combined them with this experimental evidence, suddenly it all made sense. This insight will now be used to design improved vaccines which induce the most potent transmission-blocking antibodies.”

AlphaFold’s models are also being used by scientists at the University of Portsmouth’s Centre for Enzyme Innovation, to identify enzymes from the natural world that could be tweaked to digest and recycle plastics. “It took us quite a long time to go through this massive database of structures, but opened this whole array of new three-dimensional shapes we’d never seen before that could actually break down plastics,” said Prof John McGeehan, who is leading the work. “There’s a complete paradigm shift. We can really accelerate where we go from here

“AlphaFold protein structure predictions are already being used in a myriad of ways. I expect that this latest update will trigger an avalanche of new and exciting discoveries in the months and years ahead, and this is all thanks to the fact that the data are available openly for all to use.”

When Google’s algorithm detects a search term for which this distilled information is available, the search engine is trained to go fetch it rather than merely present links to Web pages. “There has been a shift in our thinking,” said Scott Huffman, an engineering director in charge of search quality at Google. “A part of our resources are now more human curated.”

“Our engineers evolve the algorithm, and humans help us see if a suggested change is really an improvement,” Mr. Huffman said.

Ben Taylor, 25, is a product manager at FindTheBest, a fast-growing start-up in Santa Barbara, Calif. The company calls itself a “comparison engine” for finding and comparing more than 100 topics and products, from universities to nursing homes, smartphones to dog breeds. Its Web site went up in 2010, and the company now has 60 full-time employees. Mr. Taylor helps design and edit the site’s education pages. He is not an engineer, but an English major who has become a self-taught expert in the arcane data found in Education Department studies and elsewhere. His research methods include talking to and e-mailing educators. He is an information sleuth.

The game changers – the square pegs, so to speak – are those who saw traditional standards of beauty and decided specifically to go against them, perhaps just to prove a point. Take Picasso, Munch, Schoenberg, to name just three. They have made a stand against these norms in their art. Otherwise their art is like all other art: its only function is to be experienced, appraised, and understood (or not).

art is not necessarily positive: it can be deliberately hurtful or displeasing: it can make you think about or consider things that you would rather not. But if it evokes an emotion in you, then it is art.

art cannot be simply defined on the basis of concrete tests like ‘fidelity of representation’ or vague abstract concepts like ‘beauty’. So how can we define art in terms applying to both cave-dwellers and modern city sophisticates? To do this we need to ask: What does art do? And the answer is surely that it provokes an emotional, rather than a simply cognitive response. One way of approaching the problem of defining art, then, could be to say: Art consists of shareable ideas that have a shareable emotional impact

. A work of art is that which asks a question which a non-art object such as a wall does not: What am I? What am I communicating? The responses, both of the creator artist and of the recipient audience, vary, but they invariably involve a judgement, a response to the invitation to answer. The answer, too, goes towards deciphering that deeper question – the ‘Who am I?’ which goes towards defining humanity.

Mulling over past “what ifs” helps us better plan for the future.

“That’s a very important, very distinctive human ability,”

That means separating actual events from possible events and pretend play helps children do that. What would happen if I could use this banana to call my grandma? What if this pencil could take flight

That is, the ones who could imagine hypotheticals that hadn’t occurred were also the best at pretending to operate an imaginary machine with an imaginary zando.

Open the box, they told the kids, and you’ll be able to play with the toy.

They asked a quarter of the children to pretend to be someone else while they completed the task — Batman or an intrepid adventurer like Dora the Explorer.

And the kids did get frustrated. In an odd twist, none of the keys actually worked

The children who pretended to be the hardworking fictional characters stayed calmer. They also spent more time trying to open the box and tried more keys.

For kids, of course, play isn’t about learning or planning or regulating emotions. It’s about having fun. Play may be “evolution’s way of building in an insurance policy” to learn and develop, said Dr. Feigenson. It’s so enjoyable that most kids can’t resist, and along the way they develop the skills they need to succeed as adults.

To do this they have been focusing on the sensory pathways linked to these deep structures. She and her group discovered that adults with dyslexia have weaker pathway connections between a visual subcortical structure (the left visual thalamus) with an area of the cortex called V5/MT, which is critical for the perception of visual motion. In the auditory mode, there was a similar finding. The team discovered weaker connections between the left auditory thalamus and a cortex structure linked to auditory motion, which is important for speech perception. These connections could therefore be important for reading and for predicting reading skill, according to Dr von Kriegstein.

So how might this translate into helping people with dyslexia? This is basic science, says Prof. von Kriegstein, so first it’s crucial to understand the mechanisms behind communications disorders before developing therapy training tools, although she is optimistic these could lie within reach.

The way the brain encodes information and in turn directs perception of that sensory experience is a highly variable process.

The sensory overload or distorted and heightened perceptions described by schizophrenia patients, for instance, could relate to these deficits. Sensory dysfunction has also been linked to delusions and hallucinations as well as difficulties with attention and reading the emotions or tone of others – all of which can affect social interaction.

According to Dr Fellin, decreased connectivity between nerve cells (neurons) appears to play an important role in the progression of schizophrenia. So far, Dr Fellin and his group have identified which specific neurons influence sensory responses in mouse studies, but not yet in animal models of schizophrenia, with similar investigations in glial cells  - the supporting cells of the nervous system.

Some reports appear to show that at least some of the gunman’s communications used Apple’s encrypted iPhone messaging services, which makes messages almost impossible for anyone else to read when sent to another iPhone user.

Facebook parent company Meta, which also owns Instagram, says it is working with law enforcement but declined to provide details.

A series of posts appeared on his Instagram in the days leading up to the shooting, including photos of a gun magazine in hand and two AR-style semi-automatic rifles. An Instagram user who was tagged in one post shared parts of what appears to be a chilling exchange on Instagram with Ramos, asking her to share his gun pictures with her more than 10,000 followers.

Meta has said it monitors people’s private messages for some kinds of harmful content, such as links to malware or images of child sexual exploitation. But copied images can be detected using unique identifiers — a kind of digital signature — which makes them relatively easy for computer systems to flag. Trying to interpret a string of threatening words — which can resemble a joke, satire or song lyrics — is a far more difficult task for artificial intelligence systems.

Facebook could, for instance, flag certain phrases such as “going to kill” or “going to shoot”, but without context — something AI in general has a lot of trouble with — there would be too many false positives for the company to analyze.

A recent Meta-commissioned report emphasized the benefits of such privacy but also noted some risks — including users who could abuse the encryption to sexually exploit children, facilitate human trafficking and spread hate speech.

Security experts say this could be done if Apple were to engineer a “backdoor” to allow access to messages sent by alleged criminals. Such a secret key would let them decipher encrypted information with a court order.

As Tamara Plakins Thornton demonstrates in her book Handwriting in America, it has always been affected by changing social and cultural forces. In 18th-century America, writing was the domain of the privileged.

By law or custom, the enslaved were prohibited from literacy almost everywhere

The notion of a signature as a unique representation of a particular individual gradually came to be enshrined in the law and accepted as legitimate legal evidence.

Writing, though, was much less widespread—taught separately and sparingly in colonial America, most often to men of status and responsibility and to women of the upper classes. Men and women even learned different scripts—an ornamental hand for ladies, and an unadorned, more functional form for the male world of power and commerce.

increase in the number of women able to write. By 1860, more than 90 percent of the white population in America could both read and write.

Penmanship came to be seen as a marker and expression of the self—of gender and class, to be sure, but also of deeper elements of character and soul.

n New England, nearly all men and women could read; in the South, which had not developed an equivalent system of common schools, a far lower percentage of even the white population could do so

No, most of these history students admitted, they could not read manuscripts. If they were assigned a research paper, they sought subjects that relied only on published sources.

Didn’t professors make handwritten comments on their papers and exams? Many of the students found these illegible. Sometimes they would ask a teacher to decipher the comments; more often they just ignored them.

I wondered how many of my colleagues have been dutifully offering handwritten observations without any clue that they would never be read.

I asked the students if they made grocery lists, kept journals, or wrote thank-you or condolence letters. Almost all said yes. Almost all said they did so on laptops and phones or sometimes on paper in block letters

“There is something charming about receiving a handwritten note,” one student acknowledged. Did he mean charming like an antique curiosity? Charming in the sense of magical in its capacity to create physical connections between human minds? Charming as in establishing an aura of the original, the unique, and the authentic? Perhaps all of these

there are dangers in cursive’s loss. Students will miss the excitement and inspiration that I have seen them experience as they interact with the physical embodiment of thoughts and ideas voiced by a person long since silenced by death. Handwriting can make the past seem almost alive in the present.

All of us, not just students and scholars, will be affected by cursive’s loss. The inability to read handwriting deprives society of direct access to its own past. We will become reliant on a small group of trained translators and experts to report what history—including the documents and papers of our own families—was about.

The spread of literacy in the early modern West was driven by people’s desire to read God’s word for themselves, to be empowered by an experience of unmediated connection. The abandonment of cursive represents a curious reverse parallel: We are losing a connection, and thereby disempowering ourselves.

“It just came down to not having enough money,” said Terence Trouillot, a senior editor at Frieze, a contemporary art magazine . He spent nearly three years on the AICA-USA board, resigning in 2022. He said that initiatives to re-energize the group “were just moving too slowly.”

According to Lilly Wei, a longtime AICA-USA board member who recently resigned, the group explored different ways of protecting writers in the industry. There were unrealized plans of turning the organization into a union; others hoped to create a permanent emergency fund to keep financially struggling critics afloat. She said the organization has instead canceled initiatives, including an awards program for the best exhibitions across the country.

Large galleries — including Gagosian, Hauser & Wirth, and Pace Gallery — now produce their own publications with interviews and articles sometimes written by the same freelance critics who simultaneously moonlight as curators and marketers. Within its membership, AICA-USA has a number of writers who belong to all three categories.

“It’s crazy that the ideal job nowadays is producing catalog essays for galleries, which are basically just sales pitches,” Dillon said in a phone interview. “Critical thinking about art is not valued financially.”

Noah Dillon, who was on the AICA-USA board until he resigned last year, has been reluctant to recommend that anyone follow his path to become a critic. Not that they could. The graduate program in art writing that he attended at the School of Visual Arts in Manhattan also closed during the pandemic.

David Velasco, editor in chief of Artforum, said in an interview that he hoped the magazine’s acquisition would improve the publication’s financial picture. The magazine runs nearly 700 reviews a year, Velasco said; about half of those run online and pay $50 for roughly 250 words. “Nobody I know who knows about art does it for the money,” Velasco said, “but I would love to arrive at a point where people could.”

While most editors recognize the importance of criticism in helping readers decipher contemporary art, and the multibillion-dollar industry it has created, venues for such writing are shrinking. Over the years, newspapers including The Philadelphia Inquirer and The Miami Herald have trimmed critics’ jobs.

In December, the Penske Media Corporation announced that it had acquired Artforum, a contemporary art journal, and was bringing the title under the same ownership as its two competitors, ARTnews and Art in America. Its sister publication, Bookforum, was not acquired and ceased operations. Through the pandemic, other outlets have shuttered, including popular blogs run by SFMOMA and the Walker Art Center in Minneapolis as well as smaller magazines called Astra and Elephant.

The need for change in museums was pointed out in the 2022 Burns Halperin Report, published by Artnet News in December, that analyzed more than a decade of data from over 30 cultural institutions. It found that just 11 percent of acquisitions at U.S. museums were by female artists and only 2.2 percent were by Black American artists

(National newspapers with art critics on staff include The New York Times, The Los Angeles Times, The Boston Globe and The Washington Post. )

Julia Halperin, one of the study’s organizers, who recently left her position as Artnet’s executive editor, said that the industry has an asymmetric approach to diversity. “The pool of artists is diversifying somewhat, but the pool of staff critics has not,” she said.

the matter of diversity in criticism is compounded by the fact that opportunities for all critics have been diminished.