The Lithuanian capital is quickly emerging as a vibrant cultural hub – mixing its Baroque architecture, Michelin-starred cuisine, and a fearless creative scene.
From Venice Biennale–level artists at ArtVilnius’25 to politically-charged performances at Sirenos Theatre Festival, and a massive city-wide celebration of Lithuania’s own artistic genius, M.K. Čiurlionis, Vilnius is redefining the autumn city break for culture seekers.
Vilnius: The New Berlin? Discover the Baltic Cultural Capital
This autumn, Vilnius transforms into a cultural hotspot, with the Baltics’ leading contemporary art fair, bold theatre, and world-class music inviting visitors to discover the city’s vibrant creative scene.
Art Fair ArtVilnius 2024. Photo by Andrej Vasilenko
Vilnius, Lithuania. Vilnius offers all the ingredients for a perfect autumn city break – cobblestone streets, Michelin-starred restaurants, and multiple art events happening this autumn. Intimate yet vibrant, the Lithuanian capital combines old-world elegance with a fresh creative energy that’s turning it into one of Europe’s most intriguing cultural destinations.
ArtVilnius’25 features Venice Biennale artists
Returning for its 16th edition, ArtVilnius’25 remains the largest contemporary art fair in the Baltics. From October 3 to 5, the Lithuanian Exhibition and Congress Centre Litexpo in Vilnius will host 80 galleries and institutions, presenting works by more than 320 artists from 16 countries.
Among the highlights is Tallinn–based Temnikova & Kasela Gallery, recipient of the prestigious FEAGA Award in 2016, which will showcase established Venice Biennale artists and Estonia’s forthcoming Biennale representative. Edith Karlson is one of Estonia’s most acclaimed contemporary voices and in her sculptural practice, animals and people are the main protagonists; Jaan Toomik, a senior figure in Baltic art, is presenting a few paintings never before exhibited, like Old Woman with a Wolf’s Scull, Calling the Fisherman, Self-portrait as a Bonfire with Sons.
“While new fairs have appeared in Latvia and Poland, ArtVilnius is still the only event of this size and quality. Our program goes far beyond gallery presentations. Visitors will discover the internationally curated Projects Zone, the annual “The Path” exhibition, and much more. The art on view will range from new talents fresh out of the academies to world-famous artists such as Marlene Dumas and Anselm Kiefer,” says Sonata Baliuckaitė Arlauskienė, Artistic Director of ArtVilnius.
Vilnius theatre festival turns the stage into a weapon
Until October 13, Vilnius hosts Sirenos, one of Northern Europe’s boldest international theatre festivals. Known for pushing creative and political boundaries, this year’s edition revolves around the theme “Theatre is a Weapon,” exploring how performance can confront modern-day realities. Headliners include Portuguese director Tiago Rodrigues with two acclaimed works: By Heart and Catarina and the Beauty of Killing Fascists. Also on the programme is the powerful film-performance hybrid Orlando, My Political Biography, which reimagines Virginia Woolf’s novel through the voices of 26 trans and non-binary performers.
Čiurlionis – the Baltic Da Vinci – celebrated with 150 events across Vilnius
This autumn, Vilnius celebrates the 150th anniversary of M.K. Čiurlionis, Lithuania’s most revered composer-painter, often called the Baltic Da Vinci for blending music and visual art into an entirely unique language. From October to December, the city will host nearly 150 events in his honour, including immersive exhibitions, orchestral tributes, and even virtual reality experiences that bring his dreamlike worlds to life. Program highlights include the premiere of the opera “Jūratė,” inspired by Baltic mythology, and the international concert “World Piano Stars Greeting Čiurlionis,” showcasing virtuoso performers interpreting his compositions.
European cinema spotlight
From 6 to 16 November, the Scanorama Film Festival brings over 100 thought-provoking European films to Vilnius, alongside talks with filmmakers and rising talent. It’s a key date for cinephiles seeking bold, artistic storytelling off the mainstream circuit.
Getting there
With direct, daily flights from Toronto and major European cities including Berlin, Frankfurt, London, Paris, and Warsaw, getting to the Lithuanian capital is quick and easy. The city’s well-connected airport is just 15 minutes from the Old Town, making it a seamless destination for a weekend getaway or a longer cultural escape.
The Golden Eagle is one of the best known and largest birds of prey in North America. The adult birds are dark brown in color with golden-brown feathers on the back of their head, neck and upper wings.
Golden Eagles use their strength, agility and powerful talons to snatch up prey including mice, rabbits, squirrels and even fox and young deer.
They are very swift and can reach speeds over 240 km per hour while diving in on their target. <240 km/h is about 150 mp/h- the top cruising speed of the American Commuter Acela- 1 express train by the way. Watch the video below and note at the 1m 8s mark as the Acela passes the station at about the same speed that the Golden Eagle achieves in a dive. Wow!
Golden eagles usually mate for life.
They build huge nests in high places including cliffs, trees, or even telephone poles and may return to this same nest for several breeding years.
The Golden Eagle is listed under Ontario’s Endangered Species Act, 2007, which protects it from being killed, harmed, possessed, collected or sold, and protects the habitat from damage or destruction. For the Silo, Dixie Greenwood.
California Wants to Turn Down Volume on Ads Played by Streamers
The bill makes Netflix, Prime, and other streaming services regulate ad volume. It passed unanimously and now goes to the state governor. Is it time for similar legislation here in Canada?
The logos for Netflix, Hulu, Disney Plus and Sling TV on a remote control, in Portland, Ore., on Aug. 13, 2020. Jenny Kane/AP Photo
Netflix and other video streamers might need to chill a bit more when it comes to the volume of commercials played in California.
California lawmakers want to moderate blaring advertisements that play louder than the shows. They passed a bill on Sept. 22 to address the issue.
“Have you noticed the increased volume of ads in the middle of your favorite shows? They’re so jarring!” Santa Ana Democrat Sen. Tom Umberg said about the bill on social media. “If they can target ads to me based on my age and favorite cereal, I have the utmost faith they could fix this problem.”
Senate Bill 576 passed the Legislature unanimously and was sent to the governor’s desk.
If signed, the bill would go into effect July 1, 2026, to close a loophole that exempts streaming services from complying with the national CALM Act, enforced by the Federal Communications Commission (FCC).
The federal rules were adopted in 2011 and went into effect a year later. They require commercials to have the same average volume as the programs they accompany.
The way people watch shows and movies, however, has changed. Consumers are using entertainment apps, or video streaming services, much more often now, and these haven’t kept up with the protections, according to Umberg.
“As a result, consumers are increasingly subjected to loud, disruptive commercial advertisements with no regulatory safeguards,” Umberg said in a legislative analysis. “By ensuring that commercial advertisements do not play at a volume higher than the primary video content, this bill enhances the viewing experience and protects individuals with hearing sensitivities—including seniors, children, and those with auditory processing disorders—from sudden and jarring noise spikes.”
Netflix pioneered the switch to streaming services by introducing video streaming in January 2007, followed by Hulu in 2008, Amazon Prime Video in 2011, and Disney+ in late 2019.
The services have quickly become a household staple, Umberg added.
The bill does not give the state any enforcement power and doesn’t include a way for consumers to report violations.
State Sen. Tom Umberg (D-Santa Ana) speaks at a Public Safety Committee hearing in Sacramento on March 28, 2023. Screenshot via California State Senate
The legislation faced opposition from the Motion Pictures Association, which represents Walt Disney Studios, Netflix, Paramount Pictures, Prime Video and Amazon MGM Studios, Sony Pictures Entertainment, Universal Pictures, and Warner Bros. Discovery.
According to the group, the legislation was “unnecessary” as the studios were working voluntarily on the issue of loud advertisements.
Many streaming services have undertaken efforts to adjust the loudness of ads that come from server-side ad insertion. They are also working with the Interactive Advertising Bureau and the Audio Engineering Society to establish the best way to “normalize” the volume level of advertising, according to the association. For the Silo, Jill McLaughlin/ The Epoch Times.
CDs played through the PMG Signature SACD Transport come closer than ever to high-resolution PCM and DSD, uncovering new layers of dimensionality, soundstage, depth, and musicality previously unobtainable in other optical readers or server-based audio systems.
What is a Transport?
Like its predecessor (the PerfectWave SACD Transport) the PMG Signature opens the long-restricted DSD layer of SACD to PS Audio DACs. The PMG will deliver the raw DSD layer of copyright-protected SACD directly into your PS Audio DAC through I²S. This means that you’ll uncover the wealth of audio’s finest digital medium, DSD, and hear exactly what the mastering engineers who created these discs have enjoyed all along. Hear what you’ve been missing with the PMG Signature SACD Transport.
PMG Signature SACD Transport
Locked inside your CD and SACD collection is a treasure trove of music you’ve never truly heard. How do we know? Because PMG, like you, know every note of our reference discs—and we were stunned when we heard them through the new PMG Signature SACD Transport. This isn’t just another player. It’s the finest optical disc transport we’ve built in 43 years, and for the first time in our history, our founder has signed his name to it.
The PMG Signature SACD Transport is an engineering triumph, designed to extract every nuance and detail from your CDs and SACDs with unmatched precision. With galvanically isolated outputs and ultra-low jitter design, it breathes new life into your CD collection when paired with any DAC. And when connected via I²S, it unlocks the raw DSD layer of your SACDs—delivering what was once hidden to external DACs. This is not nostalgia. This is revelation. The PMG Signature SACD Transport is the ultimate disc playback system—worthy of the name, and the legacy.
Earlier this month marked the 80th session of the United Nations General Assembly (UNGA80), which opened on September 9, 2025. UNGA High-Level Week also took place this week and ends today, when leaders from around the world will gather in New York City.
The 80th Anniversary of the founding of the UN is an opportunity to return the organization back to its founding mission of promoting peace and security around the world. This year the United States is prioritizing three themes through their engagement at the United Nations: Peace, Sovereignty, and Liberty.
“POURING IN OVER FOUR YEARS OF THE INCOMPETENT BIDEN ADMINISTRATION AND NOW WE HAVE IT STOPPED, TOTALLY STOPPED. IN FACT, THEY’RE NOT EVEN COMING BECAUSE THEY KNOW THEY CAN’T GET THROUGH. BUT WHAT TOOK PLACE IS TOTALLY UNACCEPTABLE. THE U.N. SUPPOSED TO STOP INVASIONS NOT CREATE THEM AND NOT FINANCE THEM.
IN THE UNITED STATES, WE REJECT THE UNITED STATES MASS NUMBERS OF PEOPLE FROM FOREIGN LANDS CAN BE PERMITTED TO TRAVEL HALFWAY AROUND THE WORLD, TRAMPLE OUR BORDERS, CAUSE CRIME AND DEPLETE OUR SOCIAL SAFETY NET. WE HAVE REASSERTED THAT AMERICA BELONGS TO THE AMERICAN PEOPLE AND I ENCOURAGE ALL COUNTRIES TO TAKE THEIR OWN STANCE IN DEFENSE OF THEIR CITIZENS, AS WELL. YOU HAVE TO DO THAT BECAUSE I SEE IT. I’M NOT MENTIONING NAMES, I SEE IT AND I COULD CALL EVERY SINGLE ONE OF THEM OUT, YOU ARE ENJOYING YOUR COUNTRIES, THEY ARE ENJOYING — BEING DESTROYED.
THEY ARE BEING BY ILLEGAL ALIENS LIKE NOBODY EVER SEEN BEFORE. ILLEGAL ALIENS ARE POURING IN AND NOBODY IS DOING ANYTHING TO CHANGE IT, TO GET THEM OUT. IT IS NOT SUSTAINABLE AND BECAUSE THEY CHOOSE TO BE POLITICALLY CORRECT, THEY ARE DOING ABSOLUTELY NOTHING ABOUT IT.” President Donald Trump
This article courtesy of the U.S. Department of State.
I was 7 years old in the mid-70’s, and the parents were carting myself and a few rep-team baseball buddies home from a game. They decided to stop at an old bowling alley in Burford, Ontario to get a bite to eat. I don’t remember what I ate, but what I’ll never forget was discovering that large cabinet standing on four metal peg-legs in the corner of the alley. Jutting up from the back was a headboard depicting brilliantly lit cartoon-like women with implausible breasts, silently calling out to me to come closer. My one baseball bud knew what it was all about. “Hey, do you want to play a game?” I most certainly did want to play a game. He dropped a quarter in the machine, pushed the credit button and the machine chugged to life. I’ll never forget my first game of pinball.
That moment started a lifetime love for me.
The number of hours spent chasing the silver ball in arcades, bowling alleys, laundromats and pizza parlours may have cost me a few grade points in school, but I developed into a very skillful player, winning cash prizes, a television, and my greatest tournament victory: a classic pinball machine which I now get to play at home. I even travelled to The World Pinball Championships in Pittsburgh to test my flipper prowess against the best, and found out I still had skills that I needed to work on!
Pinball kept pleasure and solace at never more than 25 cents away.
Nothing could clear my head and put me in the moment like releasing the plunger and sending that silver sphere jetting onto the playfield. What was going to happen this time? The nudge of the machine was its very own dance; enough pushing to alter the path of the ball, yet not so much that you might incur a disqualifying “tilt.” The immense satisfaction of a well-targeted flipper shot hitting the mark, the helpless feeling of a ball heading down the middle with maddening precision. The shrill clang of the bells, the churning of the scoring reels on the way to a free game. Man, there was nothing else like it. For the Silo, John McIntosh.
Have a hankering for some classic silver ball action? Check out these sites:
The Church of the Silver Ball is a warehouse of pinball machines in Mississauga open to the public to play. Check it out at www.thechurchofthesilverball.com
The Toronto Pinball League has game nights all across Southern Ontario in home arcades. Go to www.topl.orgfor info.
Want to play with the big boys? Check out PAPA, the home of The World Pinball Championships held each year in Pittsburgh www.papa.org/index.php
Artificial Intelligence (AI) has become an integral part of our daily lives, influencing everything from how we interact with technology to how businesses operate. But where did it all begin? Let’s take a journey through the early days of AI, exploring the key milestones that have shaped this fascinating field.
Today, AI is a rapidly evolving field with applications in various domains, including healthcare, finance, transportation, and entertainment. From virtual assistants like me, Microsoft Copilot, to autonomous vehicles and systems, AI continues to transform our world in profound ways.
A Copilot self generated image when queried “Show me what you look like”. CP
Conclusion
The journey of AI from its early conceptual stages to its current state is a testament to human ingenuity and perseverance. While the field has faced numerous challenges and setbacks, the progress made over the past few decades has been remarkable. As we look to the future, the potential for AI to further revolutionize our lives remains immense.
The Raketa Watch Factory in collaboration with the famous Moscow Sergey Obraztsov Puppet Theatre presents an exclusive watch model — Raketa Theatre. The limited series consists of 100 individually numbered pieces. Imagine it’s not just a watch, but a unique ticket to a special performance — where there are only 100 seats in the auditorium. Each watch is like a personalized theatre seat with an engraved number:
1/100, 2/100…100/100.
The dial of the model is inspired by the famous pediment clock that decorates the facade of the Sergey Obraztsov Puppet Theatre, where each hour corresponds to the figurine of an animal. Each figurine image has been reinterpreted by the Raketa’s designers in a modern avant-garde aesthetic and applied to the dial.
The restrained design of the Raketa Theatre watches is elegantly enhanced by three stylish accents: an avant-garde dial, multi-colored printing on the rotor, and contrasting stitching on the leather strap. These thoughtful details resonate with each other, creating a stricking balance of restraint and distinctiveness.
New time for the Sergey Obraztsov Puppet Theatre
The partnership with the Sergey Obraztsov Puppet Theatre goes beyond developing an exclusive watch model. Raketa specialists are also consulting the theatre on the restoration of its famous monumental facade clock. This project reflects the brand’s commitment to preserving cultural heritage and its tradition of incorporating art into watch movements.
Elena Bulukova, Director of the Sergey Obraztsov Puppet Theatre
“The clock is under restoration, but time at Obraztsov does not stand still. The clock’s characters have a new look now. Instead of becoming museum exhibits, they remain with us, as part of our living reality. This is how the living history of the puppet theatre continues”.
The art of appreciating time
For many people, the Sergey Obraztsov Puppet Theatre’s pediment clock is not just a mechanism but also a symbol of warm memories of the first time their parents brought them to meet fairy-tale characters. This tradition has become part of the personal history for thousands of families. Raketa’s new model is meant to bring back these touching moments, helping to lay the foundation for new traditions for future generations.
Made in Russia
The heart of the Raketa Theatre model is its automatic movement, manufactured from A to Z at the Raketa Watch Factory in St. Petersburg, one of the few watch manufacturers in the world that produces its own movements, relying on a base of Soviet-era production technology that passed down through generations.
Price
The cost is 3000 EUR (including VAT) / $4,876 CAD at time of posting . For the comfort of customers, Raketa watches are delivered worldwide free of charge by DHL directly up to the front door.
Specifications
Manufacture: Raketa Watch Factory (Saint-Petersburg)
Movement: Calibre: 2615
Functions: Automatic
Number of jewels: 24
Testing positions: 4
Average rate (s/d): 10+20
Average running time (h): 40
Frequency/hour: 18 / 2.5 Hz
Bi-directional automatic winding: Yes
Stopper of self-winding unit activated during manual winding: Yes
I graduated from the University of California at Berkeley about a decade ago with a degree in Mechanical Engineering. I received two job offers, one from SETI to work on high performance signal processing and the other from industry.
One does not simply walk away from SETI, so I had the pleasure of joining the Berkeley SETI Research Center (BSRC). I received a warm welcome and was promptly sent to West Virginia to help install a new SETI system at the Green Bank Telescope.
There was a steep learning curve, but I was fascinated by BSRC’s work and couldn’t wait to actually understand what was going on.
As it turns out, our group is looking to expand its computing power, providing the ability to look at more star systems with habitable planets, expand the involvement of volunteers and acquire larger volumes of data; in short, broaden the search and increase our chances of intercepting a signal. Now I’m working on setting up new servers, network hardware, and signal-processing systems at Green Bank. We’re hoping to get data flowing and recording soon, and make it available for the interested public.
From the 19th-century idea of drawing a giant Pythagorean triangle in the Siberian tundra to signal extraterrestrials, to our current collection of servers storing and analyzing data, it is not hard to see how much progress has already been made.
Running SETI software on your home computer looks like this.
Funding from the Breakthrough Initiatives is spawning new projects that would not have been otherwise possible. SETI@home is planning to work with Breakthrough Listen to collect and distribute data from the Green Bank and Parkes telescopes. However, in order to sustain the whole SETI@home effort we could still use support from our devoted SETI@home contributors.
Recently, I spent a day at the Bay Area Science Festival talking to kids and their adults. I was fascinated by just how stoked kids are about SETI. Some came with prepared questions and showed incredible curiosity and intelligence. The BSRC team is hoping to inspire kids to pursue science careers and I think searching for life beyond Earth is a great way to get them interested and involved. I hope you continue your support for this fascinating endeavor, and keep your eyes on the stars. For the Berkeley SETI Research Center team, Zuhra Abdurashidova.
Supplemental- via nemesis maturity YouTube channel
Wow Signal – Scientists say that if the signal came from extraterrestrials, they are likely to be an extremely advanced civilization, as the signal would have required a 2.2-gigawatt transmitter, vastly more powerful than any on Earth.
The signal bore the expected hallmarks of non-terrestrial and non-Solar System origin.
One summer night in 1977, Jerry Ehman, a volunteer for SETI, or the Search for Extraterrestrial Intelligence, may have become the first man ever to receive an intentional message from an alien world. Ehman was scanning radio waves from deep space, hoping to randomly come across a signal that bore the hallmarks of one that might be sent by intelligent aliens, when he saw his measurements spike.
The signal lasted for 72 seconds, the longest period of time it could possibly be measured by the array that Ehman was using. It was loud and appeared to have been transmitted from a place no human has gone before: in the constellation Sagittarius near a star called Tau Sagittarii, 122 light-years away.
All attempts to locate the signal again have failed, leading to much controversy and mystery about its origins and its meaning.
Joe Rogan’s car collection already includes a SharkWerks 997 GT3 RS, a 964 RS America, and a 993 Gunther Werks 911. Now, the comedian and podcast host has taken delivery of a custom-built Porsche 911 RSR tribute from The RSR Project. Nicknamed Silver 2, the car is designed to echo Porsche’s early motorsport roots while offering upgraded performance for modern driving.
The Build Process
The project began with a galvanized 1985 Carrera tub, which was stripped down and reworked with steel flares and fiberglass panels to achieve the classic long-hood RSR profile. The body was finished in a glossy silver paint that recalls bare metal and paired with period touches such as a ducktail spoiler, fiberglass bumpers, and 15-inch Braid Fuchs wheels wrapped in Michelin TB15 vintage tires
Power and Engineering
Founder Richard Schickman led the build, which included a complete mechanical overhaul. Rogan’s car is powered by a 3.5-liter flat-six producing 310 horsepower, equipped with twin-plug heads, GT3 intake plenum, Clewett Engineering throttle bodies, Elgin cams, Lucas injectors, and Bosch ignition components. The motor is controlled by an Emtron SL ECU and paired with a fully rebuilt transmission. Suspension and braking systems were also refreshed to meet both performance and reliability standards.
“Our goal with every build is to honor Porsche’s motorsport heritage while elevating performance to meet modern expectations,” Schickman explained.
Precision Rebuild Standards
Every RSR Project car undergoes a full teardown. Engines are disassembled, magnafluxed, and sonic cleaned, while rotating components are balanced to within a gram. Cylinder heads are resurfaced, valve guides replaced, and transmissions rebuilt with new synchros and seals. The result, according to the company, is a drivetrain that looks factory-new but performs with modern precision and durability.
Interior Details
The interior follows the same philosophy of heritage blended with bespoke craftsmanship. Rogan’s build features black fixed-shell bucket seats trimmed in woven leather with nickel grommets, a nod to 1960s GT40s. The dashboard was replaced with a Porsche Classic unit, paired with RS-style door panels, lightweight Perlon carpeting, and a Momo Prototipo steering wheel. The minimalist approach is reinforced by details like pull straps, a radio block-off plate, and a Wevo short shifter.
Rogan declined extras like a sound system, opting instead for a stripped-down cabin that celebrates Porsche’s racing DNA. The only modern concession is an electric air conditioning system.
Road-Proven Performance
The RSR Project emphasizes that its cars are built for driving, not static display. Rogan’s Porsche underwent more than 700 miles of testing before delivery to ensure reliability and fine-tuned performance. As Schickman noted, “Every RSR we create is built to be driven and enjoyed thoroughly.”
Time and Cost of an RSR Build
Building a Porsche to this level is a significant undertaking. Each project typically requires 12 to 18 months to complete, with prices starting at $375,000 usd/ $516,750 cad (at time of posting). Clients can select additional options such as upgraded engines, modernized braking systems, and electric air conditioning. Earlier in the year, the company also unveiled RSR Project No. 21, a Signal Orange homage to the 1973 Rennsport Rennwagen.
Egloo, an Italian design studio known for eco-friendly home innovations. has just introduced ‘Tornado’, their latest bioethanol fireplace that combines sustainable design with modern functionality.
Tornado Highlights: • Innovative Design: hypnotic spinning flame in a sleek ceramic body, a unique centerpiece for any space. • Eco-Friendly: runs on clean-burning bioethanol, requiring no chimney or electricity. • Made in Italy: handcrafted in premium terracotta by skilled artisans.
Tornado will intrigue design-conscious and sustainability-minded people. Its blend of innovation, style, and eco-friendly functionality represents Egloo’s commitment to redefining home comfort in a greener way.
🔥 500% more heat
🌀 Spinning Flame Design
🍃 Bioethanol Powered
🇮🇹 Italian Craftsmanship
🏡 Indoor/Outdoor Versatility
👃 Aromatic Diffuser
🖼 Decor Statement Piece
🔒 Safe Operation
The design process commenced with identifying a dual objective: an efficient, eco-friendly heater that’s also a visual masterpiece. To bring this vision to life, Igloo leveraged the most advanced design tools available: 3D modeling allowed them to visualize and perfect every curve and contour, while 3D printing facilitated rapid prototyping and iterative refinement.
Specialist thermodynamics software was employed to ensure that when combined with terracotta, the bioethanol-fueled flame wasn’t just mesmerizing but also 500% more potent than conventional heaters. The result is Tornado, a testament to how traditional materials can be elevated through modern design methodologies.
September 2025 – Canada’s immigration policy continues to move in the wrong direction and requires a fundamental course correction, according to a new Communiqué from the C.D. Howe Institute’s Immigration Targets Council.
In “Immigration Policy Still in Need of a Course Correction,” the Council – composed of leading academics and policy experts – stresses that who is selected matters more than meeting numeric targets. They determined that immigration should be guided by human capital and long-term prosperity, not short-term labour market fixes or non-economic objectives. Notably, members also emphasized the importance of transparent, predictable policy that ensures economic immigrants have strong skills, earnings potential, and integration prospects.
Second Meeting of the C.D. Howe Institute Immigration Targets Council
The C.D. Howe Institute Immigration Targets Council held its second meeting on August 26, 2025, bringing together leading academics and policy experts to provide recommendations on Canada’s immigration-level targets and system design.1
Members agreed that Canada’s immigration policy has moved in the wrong direction and needs a fundamental course correction. Members stressed that the labour market skills and earnings potential of immigrants – both temporary and permanent – matter more than meeting numeric targets. Immigration policy should raise average human capital, rather than focusing narrowly on filling short-term labour market gaps, which prevents wage increases and capital investment to enhance productivity, or meeting non-economic objectives such as increasing Francophone immigration outside Quebec. Policy should also be transparent, predictable, and oriented toward long-term prosperity, ensuring that economic immigrants have strong skills, earnings potential, and integration prospects.
Building on these principles, the Council recommended annual permanent resident admissions of 365,000 in 2026, 360,000 in 2027, and 350,000 in 2028, reflecting the Council’s median votes. For 2026, this recommendation is modestly below the government’s current target of 380,000. Some members favoured a gradual reduction over three years to return to historical norms, while others supported higher levels to ease transitions from the non-permanent resident (NPR) population.
The group also raised serious concerns about the rapid growth and complexity of the NPR (Non permanent residency) population, as well as persistent challenges in the asylum system.
Members emphasized the importance of clear guardrails for the NPR population, recommending that the government maintain a ceiling of 5 percent of Canada’s population for NPRs in 2026, with a review in early 2027. They noted that the optimal NPR share requires balancing inflows, outflows, and clear pathways for temporary residents employed in high-skill occupations to transition to permanent residency, using objective criteria such as earnings. Improving efficiency in the asylum system was viewed as critical to protect genuine claimants and reduce pressures on the broader immigration system, since many currently see asylum as a pathway to permanent residency.
The Council further agreed that immigration programs require substantial reforms.
Regarding temporary immigration, members expressed concern that the international student system has become a pathway for low-wage labour rather than a means of attracting top global talent. They recommended higher admission standards, stronger language and academic requirements, limits on off-campus work, and stronger federal oversight to ensure only high-quality institutions and programs are eligible. Similarly, the Temporary Foreign Worker Program should be scaled back and not be used as a substitute for raising wages or improving working conditions, since relying on temporary workers can reduce employers’ incentives to offer better pay or workplace standards. Reducing reliance on low-skilled temporary workers – except in sectors such as agriculture, where transitions take time – was viewed by the group as essential to encourage productivity growth and higher wages for Canadian workers.
For permanent immigration, members were critical of the proliferation of boutique pathways in the economic class, such as category-based selection – targeted draws from the Express Entry pool based on specific attributes like occupation or language – and provincial nominee programs that prioritize lower-skilled workers, which allow provinces and territories to nominate candidates to meet regional labour market needs. They highlighted the need to simplify and strengthen the selection mechanism and agreed that Canada should move toward a single, transparent system centred on Express Entry and the Comprehensive Ranking System (CRS), a points-based tool used to assess, score, and rank candidates in the pool. They supported a human-capital-based model for economic principal applicants, which evaluates individuals on their education, work experience, and language ability, with a revised CRS that places greater weight on predictors of long-term success. New criteria should include the field of study for all applicants and verified earnings in Canada for those with prior Canadian experience. All economic principal applicants, they stressed, should be required to meet the CRS threshold. Members also agreed that these reforms – across temporary and permanent immigration programs, together with improving the integrity of the asylum system – are essential to reducing the size of the non-permanent resident population.
In addition, members highlighted the importance of fast-track pathways and policies to attract top-tier global talent. They called for stronger federal–provincial coordination and targeted initiatives to recruit individuals with extraordinary achievements in fields with lasting impact, such as science, medicine, and artificial intelligence. For high-profile research leaders, this should include pathways that allow them to bring their teams. Attracting such talent, they noted, requires not only immigration pathways but also the infrastructure and support that world-class research demands.
In conclusion, the Council emphasized the urgent need to restore a principled and sustainable immigration policy. By focusing on raising human capital, maintaining guardrails on the non-permanent resident population, addressing weaknesses in the asylum system, and reforming the economic immigration system, Canada can ensure that immigration contributes to long-term prosperity and sustains public confidence.
Members of the C.D. Howe Institute Immigration Targets Council:
Members participate in their personal capacities, and the views collectively expressed do not represent those of any individual, institution, or client.
Convener:
• Parisa Mahboubi, C.D. Howe Institute
Members:
• Don Drummond, Queen’s University
• Pierre Fortin, Université du Québec à Montréal
• David Green, University of British Columbia
• Daniel Hiebert, University of British Columbia
• Michael Haan, Western University
• Jason Kenney, Bennett Jones LLP
• Mikal Skuterud, University of Waterloo
• Christopher Worswick, Carleton University
• Donald Wright, C.D. Howe Institute and Global Public Affairs
If you are like me- someone who has drunk much more than one coffee in your life, you might be interested in pondering this question: Why do you think the multi-billion-dollar global coffee industry can be a losing business for the growers, whose hands till the land from where coffee starts?
In fact, if you drink 2 cups of coffee a day for one year, you’ll be spending more than the annual income of the coffee farmer in a developing country. To help present to fellow North American coffee drinkers this huge disparity between the farmer and the other key players across the coffee value chain, take a look at the infographic below.
Considering that North America is the biggest coffee consumer in the world, we can make a big dent by supporting the fair trade advocacy that ensures farmers get paid properly. Take a look at the infographic again. It describes how coffee is made from the farm to the mill, to the roasting plant and all the way to the consumer. Here are some of its highlights that show the bigness of this industry:
– 100 M people depend on coffee for livelihood; 25 M of which are farmers
– The U.S. spent 18 B for coffee yearly, equivalent to Bosnia’s GDP
– Coffee is the second most globally traded commodity after petroleum
For the Silo, Alex Hillsberg Web Journalist
Supplemental- How North Americans can help the #fairtrade program
Roughly once a month, I visit an artist’s studio for the ongoing series Studio Visits. I take iPhone photos of the corners and nooks of their studio, offering a more intimate look into a practice that usually takes place behind closed doors. I’ve said it before, and I’ll say it again: it’s such a gift to be invited into an artist’s studio, which often doubles as a kind of sanctuary for them.I don’t often visit photographers’ studios.
This changed a couple of weeks ago when I was invited to visit Suzy Lake at her studio in Toronto. I’m a huge fan of Lake, and I might have said as much a few times in our email correspondence, no doubt coming across as a crazed fan girl. But I’m a fan for good reason! An American-Canadian artist, Lake has been seminal in both countries for the last five decades. Her photographs combine self-portraiture and performance to comment on larger themes: political justice, the role of an artist, feminism, and aging.
She played a foundational role in shaping Conceptualism in Canada. There’s so much to admire in Lake’s career, and the work itself is equally compelling. So here I am, at Lake’s studio, one of the foremost photographers in Canada, and I am taking pictures. As you can imagine, I am very self-conscious. I start clicking away on my iPhone, no doubt diminishing the medium with my lack of artistic ability. (Of course, this series isn’t about the photos themselves, but a desire to document and archive important artist practices.)
For Lake, the act of photographing is important. The images are complex and layered. The photograph doesn’t happen the moment the shutter clicks, but in the process, creation, and performance that spans the duration of the photograph.For example, in her seminal series, Extended Breathing (2008-14) [see image below], Lake stands still for long enough to be picked up by the long exposure—at least 30 minutes. These photographs become touchstones for how we are remembered, the self as a constant, as life moves around us. Lake is asserting agency over the medium, conveying a powerful message through process.
Artist Bio: Suzy Lake is an American-Canadian artist based in Toronto, Canada. Lake’s work explores the politics of body and identity through performance, video and photography. Her later work addresses the ageing body, questioning structures of power politically and poetically. Lake’s work has been presented extensively across Canada and internationally at the Centre Pompidou-Metz, Museum of Modern Art (New York), Metropolitan Museum of Art (New York), National Gallery of Canada (Ottawa), Brandhorst Museum (Munich), Montreal Museum of Fine Arts, Vancouver Art Gallery, Hayward Gallery (London), Santa Monica Museum of Art, Los Angeles Museum of Contemporary Art, the Musée d’art contemporain de Montréal, and the Art Gallery of Windsor.
For the Silo, Tatum Dooley.
Featured image- Suzy-Lake_1983_Pre-Resolution_Using-the-Ordinances-at-Hand
Considered by many to be The Holy Grail of Polyphonic Synthesis, this meticulously refurbished Oberheim FVS-1 took 88 hours of skilled vintage synth tech time via our friends at tonetweakers to perfect. The FVS-1 contains 4 classic Oberheim SEM modules, each providing a single dual oscillator voice. Sounds are dialed in manually on each module, with global control over the most tweaked parameters via the programmer module, where patches are also saved and recalled. Since each SEM is manually adjusted, it’s hard to get them sounding exactly the same. The result is a much more organic, slightly detuned, richer, truly magical sound than you’d get out of most other poly synths.
Famous users include Lyle Mays, 808 State, Depeche Mode, Styx, Pink Floyd, The Shamen, Gary Wright, Joe Zawinul and John Carpenter (yep the film director of The Thing, Big Trouble in Little China, Starman, Escape From New York and other classics often composed and recorded music for his movies). You won’t find a better example of this beautiful classic synthesizer, so if you’re looking for an exceptional 4 voice, now’s the time. Visit our friends at tonetweakers.com to learn more.
The OB Four Voice contains 4 SEMs and a mixer module. This beautiful instrument can play up to 8 oscillators at once, for insanely humongous sounds.
One of the first
The 4 voice was one of the first polyphonic synths. Each of the four Synthesizer Expander Modules ( SEM ) can be assigned to a different note. Splitting voices between modules is also possible, as is a monophonic unison mode. A single voice is surprisingly powerful, offering 2 oscillators, 2 envelopes (1 for filter, 1 for volume), an LFO, pulse width modulation and a real sweet multimode filter with sweep-able mode (which few synths offered). The programmer module allows fast saving and recall of programmed sounds. With a combined 8 oscillators, these sound unbelievably fat. Even a single SEM sounds great. In unison mode, play all VCOs on one key for one of the most powerful vintage synth sounds ever. Nothing sounds like it to us and we’ve played everything. This is a personal favorite. This FVS-1 has the standard configuration of modules: 4 x Synthesizer Expander Module ( SEM ) Keyboard Output module Polyphonic Keyboard module Programmer module.
No clangs or zaps
If you are an analog synth head who makes musical sounds, you need one of these. To avoid disappointment though, we would recommend anyone looking for a dedicated sound effects machine to go for something else. This 4 voice is fabulous at musical tones and can make some interesting sound effects but there are better choices for clangs, zaps, explosions and similar atonal timbres.
Other famous users include: Joe Zawinul, Chick Corea, Larry Fast (Synergy), Jan Hammer, Herbie Hancock, Human League, Michael McDonald / Doobie Brothers, Patrick Moraz, Steve Porcaro, The Shamen, Tim Simenon, Depeche Mode, Vince Clarke / Erasure, Tangerine Dream, Stevie Wonder and many other influential musicians who could afford one – this was a very expensive instrument when it came out!
Did you know that, every year, home renovation projects are derailed by hidden costs, vague language, and inconsistent contractor bids—pushing 78% of jobs over budget and forcing two-thirds of homeowners into debt? It’s not just homeowners who feel the pain: contractors, property managers, real estate agents, investors, and flippers all struggle to assess and compare bids quickly and accurately.
The problem is that contractor quotes are rarely “apples to apples,” often missing critical details or disguising inflated charges—making it hard to identify true scope, cost, and risk. Now, the free-to-use and industry first BidCompareAI tool analyzes and compares multiple contractor bids, instantly identifying missing scope items, unrealistic allowances and other red flags before any work begins … often with tens of thousands of dollars on the line. In minutes, the AI generates a clear, line-by-line report that standardizes bids into transparent, actionable insights—helping homeowners avoid costly overruns, while enabling industry pros to quote with confidence, negotiate smarter, close deals faster, and protect ROI. Interest in this innovation raising industry transparency standards?
AI Reveals These Top 10 Home Renovation Bid Red Flags
First-of-its-kind free AI tool turns confusing, inconsistent contractor bids into clear, side-by-side insights—helping homeowners avoid costly overruns and enabling industry pros to quote, negotiate and close with confidence
Renovations are one of the most expensive and stressful decisions a homeowner makes. Yet 78% of projects blow their budgets, and 2 in 3 homeowners go into debt just to pay for them. Why? Because contractor bids are often riddled with hidden costs, vague language, and missing work that leave you paying more than you bargained for. Thankfully, new AI technology is now making these red flags impossible to ignore—saving homeowners thousands before a hammer is even swung. BidCompareAI is the first-ever AI tool that lets homeowners upload multiple bids and get a fast, detailed report comparing scope, pricing, and red flags—no construction expertise needed and no signup or payment required.
“Homeowners have been forced to make major financial decisions based on unclear or incomplete bids,” says GreatBuildz Co-CEO Jon Grishpul. “BidCompareAI adds instant transparency and clarity—saving people from costly mistakes before a project even starts. For contractors, property managers, and real estate professionals, it’s a credibility and efficiency tool that streamlines communication, builds trust and helps win more business.”
Here are the top 10 red flags often hiding in contractor bids, and how the BidCompareAI tool reveals them instantly:
1. Missing Scope Items — “Surprise” Costs Waiting to Blow Your Budget
Your contractor’s quote doesn’t include demolition, cleanup, or critical tasks? That’s a ticking time bomb. Now, homeowners can catch these omissions so you never get hit with surprise charges.
2. Vague Allowances — The Fine Print That Drains Your Wallet
Ambiguous line items like “fixtures” or “materials” can mean anything. The AI tool flags vague terms so you can demand specifics upfront.
3. Unrealistically Low Bids — Too Good to Be True? Usually Are
Low-ball bids often mean corners will be cut or costs will balloon later. This AI exposes these dangerously low estimates before you get stuck with change orders.
4. Pricing Inconsistencies — Comparing Apples to Oranges?
Quotes come in all formats with wildly different terminology. This advanced technology standardizes and compares them side-by-side, so you’re not left guessing.
5. Hidden Fees — The Black Box of Renovation Budgets
Permits, procurement, and labor fees sometimes get lumped in mysteriously. The AI reveals these “hidden” charges clearly in its summary report.
6. Overlapping or Duplicate Charges — Paying Twice Without Knowing It
Some bids unknowingly charge for the same work twice. The AI delivers a line-by-line analysis that spots these costly errors fast.
7. Unclear Project Timelines — When Delays Lead to Extra Costs
Vague or missing timelines can spiral into costly delays. While timelines aren’t priced, spotting missing info helps you demand accountability.
8. Missing Cleanup and Disposal — Don’t Get Stuck with the Mess
Quotes that don’t include cleanup leave you responsible for hauling debris and disposing of waste. This AI highlights these crucial omissions.
9. Discrepancies in Material Quality — Low-Quality Where You Expected Premium
One bid may specify high-end fixtures while another hides “allowances” that could mean anything. The AI tool flags these differences so you know exactly what you’re paying for.
10. Inconsistent Labor Charges — Watch for Inflated or Unexplained Fees
Labor costs vary widely, and some bids overcharge or include unnecessary markups. This user-friendly technology points out these red flags clearly.
“This is about more than just tech,” added Paul Dashevsky, Co-CEO of GreatBuildz. “It’s about empowering homeowners to feel confident and in control of their renovation projects—and helping contractors better serve their clients.”
Renovations don’t have to be a financial nightmare. As consumer-facing AI tools proliferate across industries, the BidCompareAI innovation demonstrates how artificial intelligence can bring real-world value by making complex, high-stakes decisions—like selecting the right contractor—faster, clearer and far less stressful. For the Silo, Marsha Zorn.
Installation view of Man Ray: When Objects Dream, on view September 14,2025–February 1, 2026at The Metropolitan Museum of Art. Photo by Anna-Marie Kellen, Courtesy of our friends at The Met.
American artist Man Ray (1890–1976) was a visionary known for his radical experiments that pushed the limits of photography, painting, sculpture, and film. In the winter of 1921, he pioneered the rayograph, a new twist on a technique used to make photographs without a camera. By placing objects on or near a sheet of light-sensitive paper, which he exposed to light and developed, Man Ray turned recognizable subjects into wonderfully mysterious compositions.
Introduced in the period between Dada and Surrealism, the rayographs’ transformative, magical qualities led the poet Tristan Tzara to describe them as capturing the moments “when objects dream.”
The exhibition will be the first to situate this signature accomplishment in relation to Man Ray’s larger body of work of the 1910s and 1920s. Drawing from the collections of The Met and more than 50 U.S. and international lenders, the exhibition will feature approximately 60 rayographs and 100 paintings, objects, prints, drawings, films, and photographs—including some of the artist’s most iconic works—to highlight the central role of the rayograph in Man Ray’s boundary-breaking practice.
“Before my eyes an image began to form, not quite a simple silhouette of the objects as in a straight photograph, but distorted and refracted … In the morning I examined the results, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” — Man Ray
The exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation.
Major funding is provided by Linda Macklowe, the Horace W. Goldsmith Foundation, The Daniel and Estrellita Brodsky Foundation, The International Council of The Metropolitan Museum of Art, Andrea Krantz and Harvey Sawikin, and Schiaparelli.
Additional support is provided by the Vanguard Council.
The catalogue is made possible by the Mellon Foundation.
Additional support is provided by James Park, the Carol Shuster-Polakoff Family Foundation, and Sharon Wee and Tracy Fu.
Exhibition Catalog
Man Ray: When Objects Dream
This volume is the first in-depth study of Man Ray’s groundbreaking rayographs of the 1920s and their interconnections with his Dada and Surrealist works.
The “D” word. Stressful right? When your divorce is finally final, how will you begin again?
The transition can be liberating for some, daunting for others. Mixed feelings – anger, relief, sadness, joy, fear and uncertainty – are common and may take time to sort out.
Meanwhile, the clock on your new life is ticking, and regardless of your emotions, it is time for a freedom-inspired relaunch, says Jacqueline Newman, a Manhattan-based divorce lawyer and author of Soon To Be Ex: A Guide to Your Perfect Divorce & Relaunch (www.Jacquelinenewman.com).
The divorce proceedings – all the time spent with your attorney and in court, all the hours burned while considering highly emotional and financial factors, from the impact on your children to the division of assets – put a big part of your life on hold, not to mention a major strain on it. And now with the difficult process over, Newman says, it is important to focus on creating a brand new you.
“The last umpteen months have been about your kids, your ex, and your divorce,” says Newman, “thus, a little ‘me’ time is in order. Here is an opportunity to be free from having to answer to anyone but yourself. So live your life to its fullest.”
Newman’s message is that divorce does not have to be the worst thing that could have happened to you.
There are silver linings as you begin to take control of what you can, and she offers three tips on how to relaunch after a divorce.
• Treat yourself. Right out of the divorce gate, buy something meaningful for yourself. Lose the guilt your ex made you feel for spending on clothes or expensive shoes. Your gift could be something symbolic and therapeutic that fires a shot back at your ex. “I would absolutely recommend you buy yourself a divorce present of some kind,” Newman says. “You deserve it. One woman I represented was constantly mocked by her husband during their marriage for being flat-chested. It is easy to guess what she bought as soon as her cash payment cleared.”
• Embrace single hood. This does not mean you have to hug your first post-divorce dinner partner. It means embracing a new stage of discovery, with the different, interesting people you meet while dating becoming part of your growth. Newman recommends online dating as a way to “relearn how to date.” Many newly divorced people feel insecure about dating, but Newman suggests learning about people outside your comfort zone. And rather than trying to focus on finding Mr. or Mrs. Right, Newman says, “Give yourself some time to look around and meet different types of people. You may learn something that can broaden your perspective on life. If you can start seeing relationships not as the goal but as opportunities for growth, then you can start being more accepting with the outcome of each relationship.”
• Expand your freedom. Use your new windows of time to catch up with friends you have not seen. Newman recommends Facebook as an easy way to reconnect. On weekends when the ex has the kids, strengthen your friendship circle and broaden it. Explore and re-discover yourself. Pursue new hobbies or renew ones you did not have as much time for in marriage. Advance your career. “Your post-divorce life is offering you a chance to go after the promotion you have been dreaming about,” Newman says.
By doing the things you long wanted to do, you can find the new you.
“You are free to be who you are without judgment from a spouse,” Newman says, “and to do whatever you want. Learn to love yourself.” For the Silo, Cathy K. Hayes.
He listened to Mike Oldfield. He saw the pictures on the albums and he read about ‘this thing called a Fairlight’. Which raised Klaus’ curiosity about this ‘Computer Instrument’. Fellow keyboardists told him it was a mission impossible, getting your hands on one. But Klaus managed to find the holy grail…
‘To me, It’s still fresh. I can use the Fairlight to create sounds no one’s ever heard before.’
If we take a look at the history of popular musical style creation we see a common theme: new technology leads to new inventions leads to new possibilities for musicians and composers. Consider the evolution of the modern piano from its beginnings as a somewhat-limited-oft-out-of-tune harpsichord. Or the evolution of the electric guitar from the acoustic guitar- by adding an pickup to electronically capture sound, another inadvertent effect became possible: the ability to alter the signal and sound characteristic via electronic manipulation. Heavy Metal music would never have been possible without the distortion pedal, which itself is an evolution of overdriven mixing board input channels and later on- fuzz pedals.
The first fuzz pedal to hit the market was the Maestro Fuzz-Tone, which was launched in 1962. It was developed by engineer Glenn Snoddy in collaboration with Gibson Guitars.
Inspired by Grady Martin’s distorted bass, Glenn worked with Revis Hobbs to create a device that could replicate the sound consistently. Despite its clever design, the Maestro Fuzz-Tone wasn’t really liked by many musicians. They were unfamiliar with this new distorted sound and didn’t know how to use it into their music.
However, this all changed in 1965 when The Rolling Stones used it in their hit song “(I Can’t Get No) Satisfaction.” pedalplayers.com
In a similar way the Fairlight, the AKAI MPC, the EMU and other sampling based instruments allowed for extreme sound manipulation and even the creation of entirely new sounds leading to new techniques of musicianship and composition. Will we see another development to change the playing field? Is AI the next musical frontier?
”I was lucky enough to find a Series II, back in 2010. It’s quite a historical piece, for it used to belong to Synthesizer Studio Bonn, one of the only two Fairlight retailers in Germany. They bought it in 1982. It was their demo machine and It was kept in their shop until 1999. They went bankrupt, and the Fairlight was sold to a synth collector, who went bankrupt as well. He had to sell a lot of his equipment, including the Series II. I got it for a good price. But I do hope I won’t be the third one to go bankrupt.”
Klaus Himmelstein has been a music and science teacher on several German international schools for about twenty years now. He developed a special interest in electronic music, but originally he is a classically trained violin player. ”That’s how I started, at the age of 8. My parents took me to violin lessons, because they discovered I have perfect pitch hearing. I really love to play the violin and I still play it. Through the years, I got more and more interested in electronic instruments.”
Green screen, big box
”I remember getting my hands on a Yamaha DX7 for the first time, when I was about 12 years old. That was in 1986. I didn’t know what any of these knobs were for. I tried out the presets and I tried to tweak them, to get some other sounds out of it. Around that time period, I also heard about the Fairlight for the first time. I listened to Mike Oldfields’ albums and I read he was using a ‘Fairlight computer’. So I thought: ’What the hell is a Fairlight computer?’ And then, I figured out it was this funny machine with this keyboard and this green screen and a big box, pictured on some of his albums.”
He bought his first synth in 1991. ”A Roland D-5. Not to be confused with the famous D-50. The reason I bought it was because it is multitimbral. I already had an Atari ST computer. I used this set-up for making my first compositions. And, around that time, I started asking other keyboard players about the Fairlight. Some people didn’t know anything about it. But the people who knew about it, they’d be saying things like: ’Oh boy, that’s the holy grail…’, ’15.000 Deutsche Mark’, ’You won’t get your hands on one’ or ’That’s only for the big studios’. By the end of the nineties, Klaus had built himself quite a studio with a decent amount of vintage synthesizers. ”I started looking on eBay, checking for Fairlights. I’ve learned there are two types of Fairlight-ads: either the refurbished machines which cost a fortune, or just crap.”
Closing the deal
In 2010, an acquaintance of his – the guy from RetroSound, who publishes videos of pretty much every vintage synthesizer you can think of – notified Klaus there was a Fairlight for sale. “He knew I was looking for one, through my posts on forums. So one day, he sent me an e-mail. He knew there was one for sale, somewhere in the Eiffel area. A Series II, not in perfect condition, but good enough. He offered to put me in touch with the seller.
So, in the end, I went to this guy, checked it out, talked about the price and closed the deal. It was pretty easy going. I picked it up myself, for I don’t trust companies like UPS and DHL too much handling valuable packages. I had a huge car back in the day, a station wagon. I put lots of cushions and blankets in the back of the car. I wrapped it all up and drove back to my studio, which was located in the city of Münster. I set it all up and after that, people didn’t see me for quite some time, for I was in the studio all of the time.
I went through all the floppy disks. They contained a large collection of samples from Synthesizer Studio Bonn. They made their own samples, their own sounds. It was used for demo sessions. I checked out all the sounds; quite some unique stuff in there.”
Nothing like the real thing
”I was always fascinated by its sound. That was one of the reasons I wanted to have one. Not just for collecting purposes. I’m not treating it like some piece of history that sits in my studio, like some precious artefact, being polished every day. I really want to use it for making music.” Of course, it took some getting-used-to. Klaus: ”When you start to work with it, you’ll probably find out it’s quite difficult. For instance, the light pen isn’t as accurate as you think it might be; no drag ’n drop, no pull-down menu’s. But in the end, after a couple of days, I’ve found my way around it.
I also figured out, and this is a thing I learned from other users as well: after two or three hours working with the light pen, your arm gets really tired. And that CRT monitor, that green screen compared to todays monitors.… It isn’t too comfortable. But that sound, it makes it all worth while. I think the percussive sounds are the best in the world. And it’s that 8-bit sound… I don’t know why exactly, but I think it’s just the best. It’s unique. You don’t get that particular sound out of todays software. For instance, Arturia’s CMI V, it’s really nice, it’s a good reproduction. But if you want that original particular sound, there’s nothing like the original Fairlight CMI.”
Warm community
”I bought it back in 2010 and I have been using it ever since. It’s still in quite good condition, except for the CRT-monitor. It’s a little bubbly and not quite clear around the edges. But furthermore, the light pen is still working, one of the floppy drives still works, as well as the 8 voice cards. At the age of almost 40 years, it’s still a good machine. Together with Jean-Bernard Emond from France, I’ve made some modifications. For instance, we’ve replaced on of the floppy drives with an SSD-drive. Peter Wielk helped me out with one of the voice cards. I had a dead one. He had one in Australia, so he sent it to me.
I have two Emulators, and one of them just serves as a box of spare parts. I figured out there aren’t too many people familiair with repairing an Emulator. And it’s very, very difficult to get spare parts for it. With the Fairlight on the other hand, there’s a well grown community, pretty much world wide. You can get parts from France, from Australia, from the UK… There’s always someone somewhere in the world, with a great love for the instrument and lots of knowledge, who can help you out with any issue you might have.”
Inspirators
“In my studio, there are at least 25 keyboards and a whole lot of modules and other stuff. The Fairlight is a part of ’the orchestra.
I’m a big fan of Tangerine Dream, that is to say: their early work. Everything after about 1989 began to sound like pretty much everything else. They used cutting edge technology. But the funny thing is: they never used a Fairlight. According to Edgar Froese, they used a Synclavier, and Emulators. Their music comes close to what inspires me. Some people are comparing some of my work to Tangerine Dream. Others are saying it reminds them of Jean-Michel Jarre. The perception is quite different. I’m totally happy when people like my tracks. If they don’t? That’s fine with me. I’m working on my ideas and I’m enjoying the proces. That’s it. Sometimes, I get involved in some recordings, I made a couple of jingles for radio commercials and I once made a small movie score. Sometimes, I play keyboards and violin in bands. I’d prefer doing a little less teaching and a little more music production. The good thing about being a teacher: it’s a steady job. The bad thing about being a musician on the free market: you’re never sure of income. I prefer the more secure way. Teaching music actually is a lot of fun. Recently, we performed a few pieces with some students. I love teaching music to kids. But, I don’t take many of my synthesizers to school. My Moog Rogue is the only one I bring from time to time. They can tweak on pretty much every knob or slider; it doesn’t go out of order. But I’m not bringing the Fairlight to school. I don’t want to transport it too often.”
Final thoughts
“The Fairlight CMI, it’s a particular part of history. It has integrated sampling into modern music. Without the Fairlight, things would have happened totally differently. Back in the early 80’s, it was the latest thing to go on, the latest way to produce new kinds of music. I love that particular sound. For me, it’s still up to date. It’s not old-fashioned, it’s not vintage. For me, it is still fresh. In my opinion, I can use the Fairlight – as well as the Emulator – to create new and fresh sounds that have never been heard before. I’m convinced of that.” For the Silo, Mirjam van Kerkwijk/ Jarrod Barker. Read more about the Fairlight via For The Love Of The Fairlight . Have a fun Fairlight story to tell? Contact Mirjam at [email protected].
American Federation of Arts Announces New Season of Touring Exhibitions for Fall 2025 through 2027 ‒ Museums in over 11 cities will headline art exhibitions created by the American Federation of Arts, with more cities to come ‒
The American Federation of Arts (AFA), the leader in traveling exhibitions worldwide since its founding in 1909, proudly announces the new season for the fall of 2025 through 2027. So far, museums in over 11 cities will headline several art exhibitions created by the AFA and its partners, with more cities to come. Throughout its celebrated 116-year history, the nonprofit institution has helped to spearhead the course of art for generations by enriching the public’s experience and understanding of the visual arts.
Pauline Forlenza at the 2024 AFA Gala in New York (Photo by Alycia Kravitz)
“The AFA’s expansive panorama of new exhibitions demonstrates the importance of listening to the input of visual arts leaders nationwide, focusing on what audiences want to see, and continuing our legacy of shining a light on new artists and trends,” says Pauline Forlenza, the Director and CEO of the American Federation of Arts. “Our longstanding commitment to touring art exhibitions, publishing exhibition catalogues with scholarly research, and developing educational programs is vital – now more than ever.”
These traveling museum shows will open doors to creativity for the next sixteen months to museumgoers. Some of the shows include:
Abstract Expressionists: The Women • Alex Katz: Theater and Dance Civic Virtue in Rembrandt’s Amsterdam: 17th-Century Group Portraits from the Amsterdam Museum • Presence: The Photography Collection of Judy Glickman Lauder • Making American Artists: Stories from the Pennsylvania Academy of the Fine Arts, 1776–1976 • Experimental Ground: Modernist Printmaking in Paris & New York at Atelier 17
Making Their Mark: Works from the Shah Garg Collection, and more. Links to all of the AFA’s 2025 through 2027 exhibition tours may be viewed at: current shows and upcoming tours. Pauline Forlenza at the 2024 AFA Gala in New York (Photo by Alycia Kravitz)
Some of the museums across the country include: National Museum of Women in the Arts, Wichita Art Museum, Muscarelle Museum of Art, Southampton Arts Center, The Gibbes Museum of Art, Taubman Museum of Art, Peabody Essex Museum, Indianapolis Museum of Art, New Orleans Museum of Art, Mobile Museum of Art, and the Museum of Contemporary Art San Diego, among others.
Since 1909, the AFA has toured more than 3,500 exhibitions that have been viewed by millions of people in museums in every U.S. state, and in Canada, Latin America, Europe, Asia, and Africa. From the Smithsonian – “A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. Many arts organizations and museums have followed the AFA’s precedent. This national nonprofit museum service organization is recognized for striving to unite American art institutions, collectors, artists, and museums.”
“Through the years, the AFA has also had an impact on patronage in the arts. During its 116-year history, the Federation’s exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs. The AFA also recognizes the importance of the exchange of cultural ideas.”
“Throughout its history, the organization has concentrated on its founding principle of broadening the audiences for contemporary American art, breaking down barriers of distance and language to expand the knowledge and appreciation of art. The touring exhibitions have brought before the public contemporary American artists and craftspeople, genres, and artistic forms of experimentation – exposing viewers to new ways of thinking and expression.”
Highlights from the New Season
View the full list of tours at: amfedarts.org/exhibitions/current and amfedarts.org/exhibitions/upcoming-exhibitions/. The complete lists of current and upcoming touring museum shows are updated regularly, as new exhibitions and new museum dates are added. Following are highlights of eight of the AFA exhibitions that will be touring during the fall of 2025 through 2027.
Abstract Expressionists: The Women
Explores the vital, under-acknowledged innovation of women artists in the Abstract Expressionist movement, the first internationally renowned artistic movement to originate in the U.S. • Featuring 47 works from The Levett Collection, by more than 30 women artists who worked in New York, California, and Paris from the early 1940s through the 1970s.
“Too often, the canon of art history has relegated women artists to supporting roles in major art movements,” says Pauline Forlenza, the Director and CEO of the AFA. “This exhibition upends that narrative, asserting that women painters were critical contributors to the formulation of Abstract Expressionism from the very beginning.
Equally talented and visionary, the female artists featured in this show helped put American art on the map,” adds Forlenza. The exhibition is organized by the American Federation of Arts from the Christian Levett Collection and FAMM (Female Artists of the Mougins Museum), France. This exhibition is curated by Ellen G. Landau, PhD, Andrew W. Mellon Professor Emerita of the Humanities at Case Western Reserve University.
17th-Century Group Portraits from the Amsterdam Museum
The large group portraits in this exhibition have rarely left Amsterdam since they were commissioned in the 1600s, and have never traveled in the U.S. as a group. • The show traces how life in the largest and most important city of Holland was based on the collective responsibility of the burghers, who combined their mercantile wealth with political power. • Amsterdam’s economic success, however, was the result of ruthless trade wars within Europe, colonization and enslavement overseas. • Artists include Adriaen van Nieulandt, Gerrit Berckheyde, Ludolf Bakhuizen, Frederik Jansz, Dirck Santvoort, Ferdinand Bol, Bartholomeus van der Helst, Nicolaes Eliasz Pickenoy, Jan Victors, and of course, Rembrandt van Rijn. • By governing and guarding the city, by organizing and managing a social safety net for the poor and needy, and by stimulating scientific and industrial developments, the burghers contributed to making Amsterdam the most prosperous city in Europe.
The Osteology Lesson of Dr. Sebastiaen Egbertsz, artist unknown (1619). Oil.
Presence: The Photography Collection of Judy Glickman Lauder 100 photographs by 70 artists. • Explores the concept of presence through the tenderness of portraits, the awe within landscapes, the clarity of reportage, and the spontaneity of cityscapes. • Works by Merry Alpern, Diane Arbus, Richard Avedon, Irving Bennett Ellis, Nan Goldin, Dorothea Lange, Danny Lyon, Sally Mann, Susan Meiselas, Helmut Newton, Ruth Orkin, Gordon Parks, Edward Steichen, Joyce Tenneson, James Van Der Zee, Todd Webb, Edward Weston, and more. • Photographs can be imprinted with the totality of human experiences, and this exhibition embraces that totality, examining the deeply humanistic history of photography.
Robert Mapplethorpe and Patti Smith, New York, by Norman Seeff (1969). Archival pigment print. Portland Museum of Art, promised gift from the Judy Glickman Lauder Collection.
Making American Artists: Stories from the Pennsylvania Academy of the Fine Arts, 1776–1976
Presenting more than 100 of the most acclaimed and recognizable works of American art. • New narratives of the history of American art, embracing stories about women artists, LGBTQ+ artists, and artists of color, alongside iconic works traditionally associated with PAFA. • Women artists participated in PAFA’s exhibitions as early as 1811, and this show includes paintings by Sarah Miriam Peale, Mary Cassatt, Cecilia Beaux, Alice Neel, and May Howard Jackson (the first African American woman to receive a scholarship to attend PAFA, in 1895). • By 1900, PAFA acquired its first work by a Black artist, Henry O. Tanner. PAFA educated African American artists and acquired their works throughout the twentieth century, and this show features works by Joshua Johnson (one of the first professional Black artists in America), Dox Thrash, Laura Wheeler Waring, Edward Loper, and Barkley L. Hendricks.
Curated by Anna O. Marley, PhD., a scholar of American art and material culture from the colonial era to today.
The first comprehensive museum presentation of Katzʼs highly collaborative and playful work with choreographers, dancers, and members of avant-garde theater ensembles over six decades. • Showcases Katz’s deep and lasting influence on the history of the American performing arts. • Rare archival materials, major sets and paintings, and previously unexhibited sketches from more than two dozen productions. • Spotlights fifteen productions that Katz produced with Paul Taylor, exploring their creative partnership that generated some of the most significant postmodern dance and art of the twentieth century. • Artworks from the show are drawn from the Alex Katz holdings at the Colby College Museum of Art (home to a collection of nearly 900 works by the artist), from Paul Taylor Dance Archives, and from the artist’s studio.
• Provides an innovative kind of retrospective: that of an artistic sensibility. • Attesting to the intertwined histories of painting and stage design in Katzʼs works. • Curated by Levi Prombaum, former Katz Consulting Curator, Colby College Museum of Art.
Willie Birch: Stories to Tell
Chronicles Birch’s unique vision of the Black American experience and examines the interconnected nature of global art forms. • The first ever career retrospective brings together groundbreaking works from the early 1970s to the present.
Throughout his career, the artist has explored how African traditions have been retained in music, art, and culture in America and beyond. • Birch was raised in New Orleans and trained in Europe, Baltimore, and New York. • His work as an artist, community organizer, and cultural provocateur questions why certain things are retained and not others, unearthing uncomfortable truths about American identity, but also offering possibilities for greater cultural awareness.
Left to-right: Memories of the 60’s, by Willie Birch (1992). Papier mâché, mixed media. Courtesy of Arthur Roger Gallery, New Orleans. • Uptown Memories (A Day in the Life of the Magnolia Project), by Willie Birch (1995). Painted papier-mâché and mixed media. New Orleans Museum of Art, Gift of Frederick R. Weisman. Image Copyright of New Orleans Museum of Art / Photo: Roman Alokhin.
Making Their Mark: Works from the Shah Garg Collection
Reveals the intergenerational relationships fostered among women artists over the last eight decades, assembling over 70 works made by 60 women artists between 1946 and today. • Sculpture, painting, installation, textiles, pottery, and mixed media works all converge. • Pioneering examples of post-war abstraction —including early works by Janet Sobel, Judy Chicago, and Mary Corse — are shown alongside compositions by leading contemporary artists such as Julie Mehretu, Lorna Simpson, and Aria Dean. • Paintings and mixed media works by Christina Quarles, Tschabalala Self, and Firelei Báez blur the boundaries between abstraction and figuration. • Connections between the handmade and digital emerge in the various forms of piecework employed in Faith Ringgold’s quilts, Howardena Pindell’s collages, and the pixelated, hypermediated canvases made by Jacqueline Humphries and Anicka Yi.
Works by the Freedom Quilting Bee, Françoise Grossen, and Sheila Hicks explore irregular geometries and eccentric abstractions via fabric and fiber. • Curated by Cecilia Alemani of High Line Arts in New York City. Sisters, by Tschabalala Self (2021). Velvet, felt, tulle, marbleized cotton, craft paper, fabric, and digitally printed, hand-printed, and painted canvas on canvas. Collection of the Shah Garg Foundation. Crisscross, by Sarah Sze (2021). Oil, acrylic, acrylic polymer, and ink on composite aluminum panel, with wood support. Collection of the Shah Garg Foundation. Counterculture B, by Rose B. Simpson (2022). Carved New Mexico pine, twine, clay and acrylic. Collection of the Shah Garg Foundation.
Experimental Ground: Modernist Printmaking
In Paris & New York at Atelier 17 The first large-scale survey of original prints made at Atelier 17 to tour the U.S. in 50 years. • This revolutionary printmaking workshop (1927 to 1988) was famous for its impact on the development of modern art.
Kaleidoscopic Organism, by Fred Becker (1946). Softground etching. Courtesy of O’Brien Art Project Foundation.
It served as a hub of artistic and intellectual exchange — first for Surrealists in interwar Paris, and after World War II for the exploration of abstraction and other modernist styles. • Commemorates 100 years since the founding of the studio. • Presents works by notable artists who gained formative skills at Atelier 17, such as Joan Miró, Yves Tanguy, Louise Bourgeois, Franz Kline, Jackson Pollock, Louise Nevelson, and Krishna Reddy, among many other artists who participated in intense collaborations at the studio. • Atelier 17 attracted hundreds of international artists, drawn to the radical vision of printmaking as a mode for experimentation rather than reproduction.
About the American Federation of Arts
The American Federation of Arts (AFA) is the leader in traveling exhibitions in the U.S. and worldwide. One of the first to successfully tour art exhibitions on a national and international level, the organization unites American art institutions, collectors, artists, and museums. The AFA has toured more than 3,500 exhibitions that have been viewed by millions of people in museums in every U.S. state, and in Canada, Latin America, Europe, Asia, and Africa.
A nonprofit organization founded in 1909, AFA is dedicated to enriching the public’s experience and understanding of the visual arts through organizing and touring art exhibitions for presentation in museums around the world, publishing exhibition catalogues featuring important scholarly research, and developing educational programs.
Abstract Expressionists: The Women is organized by the American Federation of Arts from the Christian Levett Collection and FAMM (Female Artists of the Mougins Museum), France. The exhibition is curated by Dr. Ellen G. Landau. It is generously supported by Berry Campbell Gallery, Betsy Shack Barbanell, Monique Schoen Warshaw, Christian Levett, and Clare McKeon and the Clare McKeon Charitable Trust. Additional support has been provided by the Pollock-Krasner Foundation and the Every Page Foundation.
Making Art, Making History: 200 Years of American Stories from the Pennsylvania Academy of the Fine Arts is co-organized by the American Federation of Arts and the Pennsylvania Academy of the Fine Arts. Lead support was provided to PAFA by the William Penn Foundation, with additional support from the Richard C. von Hess Foundation and donors to PAFA’s Special Exhibitions Fund. In-Kind support is provided by Christie’s and Gill & Lagodich Fine Period Frames, New York. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Alex Katz: Theater and Dance is organized by the American Federation of Arts and Colby College Museum of Art. This exhibition is curated by Levi Prombaum, former Katz Consulting Curator, Colby College Museum of Art. The 2022 presentation of Alex Katz: Theater and Dance was organized by the Colby Museum with curatorial guidance from Robert Storr.
Willie Birch: Stories to Tell is co-organized by the American Federation of Arts and the New Orleans Museum of Art. Major support for the exhibition and catalogue is provided by the Andy Warhol Foundation for the Visual Arts, the Henry Luce Foundation, Wyeth Foundation for American Arts, and the Terra Foundation for American Art.
Making Their Mark: Works from the Shah Garg Collection is organized by the American Federation of Arts and the Shah Garg Foundation. The exhibition is curated by Cecilia Alemani, the Donald R. Mullen, Jr. Director and Chief Curator of High Line Arts in New York City.
Experimental Ground: Modernist Printmaking in Paris & New York at Atelier 17 is organized by the American Federation of Arts. This exhibition is curated by Ann Shafer and Christina Weyl. Civic Virtue in Rembrandt’s Amsterdam: 17th-Century Group Portraits from the Amsterdam Museum is organized by the American Federation of Arts.
Presence: The Photography Collection of Judy Glickman Lauder is co-organized by the Portland Museum of Art, Maine, and the American Federation of Arts.
Untitled. abstract expressionism- oil on canvas Jarrod Barker 2021
A few weekends, late nights, a powdery mess of raw ingredients and a 3-foot-long ( 0.944-meter- long) immersion blender working up a storm later ,it’s become more than apparent that our friends lab at kommandostore has been cooking up another big batch.…Of Versengtarn & Acidtarn.We get it, they’re in South Dakota, USA but what did you think we were talking about? Tabs?
“Versengtarn” and “Acidtarn” are their most popular dyed-in-house military surplus garments by a longshot and it’s easy to see why. They use a special reactive dye that lasts far longer than most off-the-shelf compounds & a top-secret DJ routine on a washing machine for a shadowy redux of Flecktarn Field Shirts & Parkas that you just can’t find anywhere else. Being pre-inspected and laundered during the dye process, they’re ironically some of the best quality flecktarn pieces you can buy from kommandostore.
Versengtarn is the classic, an almost Multicam-black-esque variant of flecktarn that’s been created that quiets down the classic camo pattern to a whisper, giving it an ashy appearance that’s fantastic for working in to your daily wardrobe or just being a little edgelord who loves buying black stuff. Acidtarn is much of the same but has a green-er overtone. It retains the subtlety, and a bit of the original military looks of the Flecktarn Field Shirt.
With the first batch a few months ago being a massive success, kommandostore heard you guys loud and clear. The perpetual dyeing industrial supercomplex in their warehouse now cannot be stopped .
So, whether this is your first time dyeing with them or you missed out on the last batch, today’s the day to click the link above and get an order it. They’ve got plenty of other dye projects to do before circling back to good ol v-tarn so it might be a while before it’s back…
The Lore Drop
What watching the first season of True Detective does to a mfer… If you cant tell how excited we were after learning about dyed flecktarn, the double-exposure edit above should give you enough of a hint. It goes hard in a way we just can’t match one for one these days.
The concrete Malibu mansion abandoned mid-renovation by Kanye West is back on the market with a previous deal now on the rocks.
The Malibu Beach home that Kanye West bought in 2021 for $57.3 million usd/ $79.03 million cad but then gutted, abandoned and sold for $21 million usd/ $28.97 million cad has hit a new snag. The 4,000-square-foot home, designed by renowned architect Tadao Ando, has bounced between several developers and is now back on the market for $34.9 million usd/ $48.14 million cad.
It’s the latest twist in the saga of the oceanfront house, designed by award-winning Japanese architect Tadao Ando, which the rapper purchased in 2021.
West bought the three-story home for $57.3 million—and then immediately gutted it, leaving only a concrete shell with no windows, plumbing or electricity when he dumped the project about two years later.
Note- prices below are in USD, please read intro paragraph above for CAD conversion at time of publication.
The skeletal beach house then sold for $21 million last year to Steven “Bo” Belmont, a developer who returned it to the market within months. He quickly went into contract to sell it to another developer, the Montana-based Andrew Mazzella, for $30 million, both parties confirmed.
Listing images show the home before a gut renovation was begun.The Oppenheim Group/Roger Davies
The deal with Mazzella, a luxury home developer, was scheduled to close in May but has now stalled, as the shell of a house was back on the market as of Wednesday asking $34.9 million, down from an initial ask in March of $39 million.
According to Belmont, CEO of crowdfunding platform Belwood Investments, the deal is enirely dead, he told Mansion Global on Monday. Belmont cancelled the contract after Mazzella requested a third extension to find financing when the second extension expired on July 31.
Mazzella confirmed that they mutually cancelled the contract earlier this month, but was quoted as saying he’s “not out of the game just yet”, and is “still interested in negotiating a deal for the house”.
Roughly 1,200 tons of concrete were used to build the original home.The Oppenheim Group/Roger Davies
Prior to the March deal, Belmont had already begun the $8.5 million process of returning the 4,000-square-foot home to its original design by the Pritzker Prize-winning architect, built in 2013 for financier Richard Sachs, he said. He consulted with Sachs and hired the same design-build firm, Marmol Radziner, who had constructed the house originally.
Belmont plans to sell the building as-is at the new price to recoup the money already invested, or return to the original plan of restoring it and selling the completed house—which he expects to be in even more demand in the wake of the January wildfires.
“Malibu is going to get a full face lift, with fire-retardant concrete homes, and we have the ultimate high-end concrete home. A tsunami can’t take it out. A fire can’t take it out,” Belmont said. “And it’s the only Ando for sale.”
The listing is with Jason Oppenheim of the Oppenheim Group and Mauricio Umansky of the Agency, who have been representing the seller from the start. Oppenheim previously repped Kanye in the sale to Belmont, as well. Neither immediately responded to a request for comment.
Realtor.com first reported the home’s return to the market.
Mazzella had also planned to complete the reno of the house and list it closer to Kanye’s original purchase price. “It’s a very complicated construction project,” he said.
Mazzella is working on restoring another Los Angeles mansion and plans to keep looking for opportunities if the deal for this one does fall through. “I consider my business style to be that of Trump, Musk and Carl Icahn combined so it’s not an easy process,” he said.
For the Silo, Liz Lucking/ Mansion Global, Jarrod Barker.
Artificial Intelligence (AI) has infiltrated our lives for decades, but since the public launch of ChatGPT showcasing generative AI in 2022, society has faced unprecedented technological evolution.
With digital technology already a constant part of our lives, AI has the potential to alter the way we live, work, and play – but exponentially faster than conventional computers have. With AI comes staggering possibilities for both advancement and threat.
The AI industry creates unique and dangerous opportunities and challenges. AI can do amazing things humans can’t, but in many situations, referred to as the black box problem, experts cannot explain why particular decisions or sources of information are created. These outcomes can, sometimes, be inaccurate because of flawed data, bad decisions or infamous AI hallucinations. There is little regulation or guidance in software and effectively no regulations or guidelines in AI.
How do researchers find a way to build and deploy valuable, trusted AI when there are so many concerns about the technology’s reliability, accuracy and security?
That was the subject of a recent C.D. Howe Institute conference. In my keynote address, I commented that it all comes down to software. Software is already deeply intertwined in our lives, from health, banking, and communications to transportation and entertainment. Along with its benefits, there is huge potential for the disruption and tampering of societal structures: Power grids, airports, hospital systems, private data, trusted sources of information, and more.
Consumers might not incur great consequences if a shopping application goes awry, but our transportation, financial or medical transactions demand rock-solid technology.
The good news is that experts have the knowledge and expertise to build reliable, secure, high-quality software, as demonstrated across Class A medical devices, airplanes, surgical robots, and more. The bad news is this is rarely standard practice.
As a society, we have often tolerated compromised software for the sake of convenience. We trade privacy, security, and reliability for ease of use and corporate profitability. We have come to view software crashes, identity theft, cybersecurity breaches and the spread of misinformation as everyday occurrences. We are so used to these trade-offs with software that most users don’t even realize that reliable, secure solutions are possible.
With the expected potential of AI, creating trusted technology becomes ever more crucial. Allowing unverifiable AI in our frameworks is akin to building skyscrapers on silt. Security and functionality by design trump whack-a-mole retrofitting. Data must be accurate, protected, and used in the way it’s intended.
Striking a balance between security, quality, functionality, and profit is a complex dance. The BlackBerry phone, for example, set a standard for secure, trusted devices. Data was kept private, activities and information were secure, and operations were never hacked. Devices were used and trusted by prime ministers, CEOs and presidents worldwide. The security features it pioneered live on and are widely used in the devices that outcompeted Blackberry.
Innovators have the know-how and expertise to create quality products. But often the drive for profits takes precedence over painstaking design. In the AI universe, however, where issues of data privacy, inaccuracies, generation of harmful content and exposure of vulnerabilities have far-reaching effects, trust is easily lost.
So, how do we build and maintain trust? Educating end-users and leaders is an excellent place to start. They need to be informed enough to demand better, and corporations need to strike a balance between caution and innovation.
Companies can build trust through a strong adherence to safe software practices, education in AI evolution and adherence to evolving regulations. Governments and corporate leaders can keep abreast of how other organizations and countries are enacting policies that support technological evolution, institute accreditation, and financial incentives that support best practices. Across the globe, countries and regions are already developing strategies and laws to encourage responsible use of AI.
Recent years have seen the creation of codes of conduct and regulatory initiatives such as:
The Bletchley Declaration, Nov. 2023, an international agreement to cooperate on the development of safe AI, has been signed by 28 countries;
US President Biden’s 2023 executive order on the safe, secure and trustworthy development and use of AI; and
Governing AI for Humanity, UN Advisory Body Report, September 2024.
We have the expertise to build solid foundations for AI. It’s now up to leaders and corporations to ensure that much-needed practices, guidelines, policies and regulations are in place and followed. It is also up to end-users to demand quality and accountability.
Now is the time to take steps to mitigate AI’s potential perils so we can build the trust that is needed to harness AI’s extraordinary potential. For the Silo, Charles Eagan. Charles Eagan is the former CTO of Blackberry and a technical advisor to AIE Inc.
Attachment parenting (AP) is a philosophy that basically means: the closer you keep your children to you, you provide a security, a centre. When children grow up, they are very compassionate, loving human beings. Parts of this style include extended breastfeeding, a safe sleep environment (close to parents) and baby-wearing and balance (martyrdom is not a requirement). The tenet of AP is that by meeting your baby’s needs, the child feels secure in their world.
One can practice AP while working. One can also practice AP while bottle feeding (dads don’t nurse). What matters most is meeting your baby’s needs and bonding. A newborn, a child, has basic needs. They need to eat (as humans, meant to drink Mamma’s milk), they need to poop/pee, they need to sleep, and they need to feel loved. Babies feel love by contact and closeness.
Hubby and I said that our babies would never sleep in our bed. From 6-9 months, my eldest and I barely slept. He woke up often to nurse, and with the stringent rules the nurses gave me at the hospital about nursing (rules which I now don’t agree), I was sleeping maybe 40 minutes between nursing sessions. In desperation, I brought him into our bed and ‘hid’ him there until he was around a year old. When Jeff finally discovered him, he said, “That’s why you have been so much nicer lately?” “Yes, because I could finally sleep!”
[The Big Bang Theory’s Mayim Bialik says attachment parenting is “a style of parenting that basically harkens to the way primates parent — things like natural birth, breast feeding, sleeping safely near your child, holding your child. ” CP]
I should say that the Canadian Pediatric Society says not to sleep with your child. But, there has been research the past 6 years that clearly shows that if certain precautions are in place (no smoking, drinking or drugs that put you into a deep sleep, never on a couch, and no pillows/blankets around baby’s face), sleeping with a parent is safe. Most babies who die sleeping with their parent had at LEAST one of those risk factors, if not more. A great website that will give a fully informed choice is (http://www.isisonline.org.uk/). Sleeping with your children is a contentious topic in western culture, but quite normal overseas.
I was a full time midwifery student when my baby girl (last of 4 children) was 7 months. I still was an AP’er. We both slept better at night. She stayed connected to me even though I was gone during the day or days. Of my 4 children (now ranging from 8-16), none have been bullies. They all left our bed. They all stopped nursing when we both chose. It worked for us.
This Digital Dad could use a sling… “Ever since my baby boy was born on February first, everyone keeps asking the same thing. How is it that I can find so much time for video games? Having a baby is very time consuming and, even with my generous 6 weeks of parental leave, I still found it hard to find time for myself (ie: gaming time). That is, before I discovered that my shoulder is more comfortable to a newborn than any bed, pillow, blanket or hammock made by man” from http://tinyurl.com/2qlcm4
Baby-wearing is AWESOME in a mall. Strangers do not enter your private space to look at your child, as they would if your child was in a stroller. They see the world from the safety of mom or dad’s arms. This type of parenting may not work for everyone. No judgement. Like breastfeeding, the choice is with the parent, not society. My children are very resilient and loving human beings. For the Silo,Stephanie MacDonald.
She designed a sanctuary for herself. Unfortunately, it turned out to be a modern masterpiece. E.1027 Eileen Gray and the House by the Sea
Streaming & DVD Launch September 9, 2025! Coming to Amazon, Apple & Kanopy
In 1929, Irish designer Eileen Gray created E.1027 on the sun-soaked Côte d’Azur – a bold and hidden gem of avant-garde architecture. This striking house was meant to be a personal refuge.
But when the legendary architect Le Corbusier stumbled upon it, fascination turned to obsession. He covered its walls with his murals, completely disregarding Gray’s wishes and her vision. His defiant act ignited a battle for creative control, with Gray demanding restitution for the destruction of her work. He ignored her wishes and instead built his famous Cabanon house directly behind E.1027.
E.1027 – Eileen Gray and the House By the Sea is an unusual hybrid docu-fiction film that tells a story about the power of one woman’s creative expression and a man’s desire to control it.
“A unique and uniquely satisfying experience…a bold movie because it takes a deep dive on characters and a house that may not widely known, at least for American audiences. There is nothing quite like it.” – John Soltes, Hollywood Soapbox“ A story of passion, craft, and betrayal…aesthetically beautiful and a great summer watch.” – Fiona Rae, Film Threat “Shot on location at E.1027, this feature-documentary hybrid matches the sleekness of its setting – its serenity, its surface poetry, its fragments of grace.” – Barlo Perry, ParisLA “Eileen Gray was a creative genius and the first woman to conquer the world of architecture at a time when men controlled it all. This new film reflects on Gray’s impressive career and her stunning modernist house on the Cote d’Azur.” – Meredith Taylor, Finito World
“The directors put architecture in dialogue with cinema in order to bring to life the sensibility of a woman who was a visionary yet is too rarely celebrated. Elegant and well thought-out, the film uses the cinematic medium to enrich a discourse.” – Giorgia Del Don, Cineuropa
“Based on the memoirs of Eileen Gray, this meticulously crafted docu-drama, where poetry slips into frames, angles and tones, almost feels like a hallucination.”– Maroussia Dubreuil, Le Monde
A First Run Features / Architecture & Design Film Festival Release E.1027 – Eileen Gray and the House By the Sea Written & Directed by Beatrice Minger Co-Directed by Christoph Schaub With Natalie Radmall-Quirke, Axel Moustache & Charles Morillon 90 minutes, color, 2024 | English & French w/English subtitles
Streaming & physical media disc Launch Date: September 9, 2025 Streaming Platforms: Amazon, Apple & Kanopy DVD SRP: $19.95 usd| DVD UPC: 7-20229-91843-5
For the Silo, Kelly Hargraves/ First Run Features.
Rep. Anna Paulina Luna tells Joe Rogan she has seen photos of UFOs in a classified setting and is “very confident there’s things out there that have not been created by mankind.” pic.twitter.com/eL3GWcoRfF
Theodore “T.R.” Roosevelt, Jr. was an American politician, author, naturalist, soldier, explorer, mason and historian who served as the 26th President of the United States.
Remember last year, when there was ongoing UAP/Drone activity hitting the news cycle and without any official explanation of what was happening over the skies of New Jersey and the rest of the world? There is still no answer and it is fascinating to consider that this phenomena is in fact not new and has been reported for over one hundred years.
The drones have become unsettlingly frequent in Monmouth County, New Jersey (Picture: Monmouth County Sheriff’s Office. Dec 2024)
When one thinks of U.S. Presidents and UFOs several of our Chief Executives come to mind. Firstly, there is President Eisenhower purportedly meeting aliens at Edwards Air Force Base in 1954.
Then there is JFK’s memo to the CIA asking for disclosure on UFOs ten days before his assassination:
More humorously but perhaps true is the story of Richard Nixon treating comedian Jackie Gleason to a view of dead alien Grays at Homestead Air Force Base in 1974.
But what about Teddy Roosevelt?
Is anyone in the UFOlogy Community even aware of a documented UFO sighting over the 26th US president’s home, Sagamore Hill, in Oyster Bay, New York on August 1, 1907 when he was in his second term of office?
According to an old clipping found by UFOlogist Kay Massingill from a newspaper called the D.C. Evening Star dated August 2, 1907, two events of a mysterious nature occurred in the town of Oyster Bay in a twenty-four hour period and both concerned Mr. Roosevelt.
In the latter, the town librarian Miss Denton opened up the library on the morning of the 1st and discovered a beautiful mahogany chair donated by Teddy to the museum from his days as Governor of New York had split down the backside sometime the night before. More peculiar was the fact that on the reverse back of the chair was the Bald Eagle Seal of the United States of America and it was split in half! An ominous sign indeed! Was it an omen?
However, the main event occurred the evening before between the hours of 9 p.m. and 11 p.m. when a brilliant white light was seen to hang motionless over Sagamore Hill.
According to the dispatch, it was a light “considerably larger than a star” and hung about 300 feet in altitude over the house according to numerous witnesses. It was an “intense white light” and after 11 p.m. it began to fade to a spark and then extinguished. Meanwhile in the library a short distance away, a chair associated with Sagamore Hill’s occupant was coming undone in a most mysterious way.
The home on Sagamore Hill
Was Mr. Roosevelt home the night of the UFO sighting? The article doesn’t say and we’ll probably never know but it is known that Sagamore was called Roosevelt’s Summer White House and it was the middle of summer.
So the main question to ask is why would a ball of light attend to Mr. Roosevelt in the heat of 1907? Two clues can be found concerning his agenda as President that year.
The speech is mundane for the most part dealing with anti-trust actions, railroads, the Department of Agriculture, conservation, unions and such but near the end of it Roosevelt begins to lay out the groundwork for creating the world’s most dominant modern navy. It seemed Roosevelt had a great grasp of what was happening in the world concerning Japan, Germany and China and their eventual rise on the world’s stage. He specifically recommended dredging Pearl Harbor to make it a world class naval base and increasing Alaska’s defenses. Did he know something about the world no one else did? His maneuvering just months after the Sagamore Hill incident directly led to America’ emergence as the modern world’s greatest Suprerpower. Did he have help from E.T. whispering in his ear? During his tenure America’s Navy grew from 5th to 3rd in the world in size.
The second clue is the very interesting coincidence of the Second International Peace Convention held at The Hague, Netherlands that year from June 15 to October 18, 1907 which was during the Sagamore Hill sighting. That convention was the brainchild of none other than Teddy Roosevelt! It was an attempt to codify the rules of war – particularly naval warfare. More importantly, it was seen as the world’s first attempt at an international governing body – a forerunner to the League of Nations and the United Nations.
The Tin Foil Hat Question
Are aliens attempting to lay out the groundwork for, or interfere with, the earth’s direction in the 20th and 21st centuries? And might they have been in contact with American Presidents long before Eisenhower’s 1954 encounter? To see the complete newspaper clipping go to http://www.worldufowatch.com/historical_newspaper_clippings For the Silo, Robert Spearing.
Another boss article via friends at Hagerty. Vintage Corvettes have been bought and sold as collector vehicles for decades, and so you could be forgiven for thinking that all the hot ones have been accounted for, and that the current body of research has documented all that’s known about them.
That’s not the case, and to seasoned Corvette hunters like Kevin Mackay, that’s actually good news. Mackay started his business, Corvette Repair, 30 years ago in Valley Stream, N.Y. His timing could not have been better. Chevy had just launched the exciting C4 model, and the Corvette collector hobby was shifting into hyper drive. That trend brought a renewed interest in the Corvette’s heritage, including racing.
Canada Corvette Connection?
There were already expert collectors well versed in Corvette history, but history has a way of changing. As deeper dives would reveal gaps in Corvette knowledge, those who applied the resourcefulness and tenacity of TV police detective Columbo were able to find and authenticate super-rare Corvettes.
1968 Sunray DX L88
You won’t find Mackay wearing a rumpled raincoat around his shop, but his detective work continues to uncover cars thought to have been lost. Some of those are race cars that have come through his shop, including the 1960 Briggs Cunningham Le Mans car, 1962 Yenko Gulf Oil, 1966 Penske L88, 1968 Sunray DX L88 (found in a barn) and 1969 Rebel L88. All were Le Mans, Daytona or Sebring class winners. Corvette aficionados will see a pattern: Among lost Vettes that Mackay hunts are ones campaigned in those races.
The Rebel was one of the most successful C3 Corvette race cars ever, winning the GT class at Daytona and Sebring in 1972, where it also took fourth overall behind two prototype-class Ferraris and a prototype Alfa Romeo. Mackay tracked the car to a southern scrapyard 24 years ago and restored it; the car sold at Barrett-Jackson’s Scottsdale sale in January 2014 for $2.86 million usd/ $3.95 million cad.
“I know where every Corvette that raced Le Mans is,” Mackay said. Knowing, of course, is only the start of a long road to acquiring a car. Aspiring Corvette hunters might take note of other cars that grab Mackay’s interest.
Listen to What The Man Says
It could go without saying that any Corvette collector would want to stumble upon an L88 hiding in a barn. It’s a comparatively small group of cars, but it’s bigger than originally thought.
“We located 13 factory L-88 cars not previously known,” said Mackay, adding that three of the 20 1967 L88s are still missing. So, when an elderly man approached him with a claim that he still owned a 1967 L-88 that he bought new, Mackay listened, if with a skeptic’s ear.
“That happens a lot,” he said. “Guys claim they have a car that nobody has ever seen.”
A doubter may dismiss such claims, but Mackay says his experience has shown that sometimes, they lead to Corvette treasure. For example, he knows of a 1967 L-89 car, one of 16 made, that hasn’t been seen in decades; it was driven just 11 miles / 17.7KM from new and put away.
Not every lead pans out, but patience can lead to gold, Mackay advises.
“I waited 11 years to buy one particular car,” he said. “I’d call the owner every year. It was all about building trust.”
And so comes another lesson in hunting and buying classic Corvettes: It’s not always about the money. Mackay said that some owners are too emotionally attached to their cars to let go. And some never do, leaving valuable cars to be auctioned by heirs. In such cases, years of patience and building trust can seem wasted. But Mackay loves the challenge of the hunt.
For another car, he waited 19 years. And he’s got a list of others.
“There are two cars I’ve been waiting nine years to buy,” he said. “I always tell the owner that he’s just holding them for me for free storage.”
Follow the Clues
Many car enthusiasts enjoy reading old magazine articles. Mackay reads them for clues. “I look for names of people associated with cars, such as race mechanics, and then I look for those people,” he said.
Knowing where a Corvette was sold can be a help for an experienced hunter. If you have a Corvette’s VIN, you can get its original shipping data – including the selling dealer – from the National Corvette Restorers Society (NCRS) for $40. Even if the dealer is no longer in business, the information could lead to other clues.
Sometimes, answering an ad for parts leads to whole cars. While hunting down a lead on parts for a 1969 Baldwin-Motion Phase III Corvette, Mackay stumbled across a super-rare Phase III GT that turned out to be a car a customer owned when new and had regretted selling many years before. Mackay has also found engines and then later located the cars they belong to.
Serial Boxes
Some collectors like to own “firsts” and “lasts” and therefore hunt low and high serial number cars. The top prize in that category would of course be the very first Corvette built, but the first two were test cars thought to have been destroyed. Yet, as Lt. Columbo might ask, “Where’s the body?”
Mackay can claim something close. He found the original chassis to 1953 serial No. 3 for a customer. He explained: “The first three made were test cars. Before GM sold No. 3, they swapped the chassis, because the first one had been used in Belgian block testing, and there were concerns about possible stress cracks.”
Somehow, the first chassis got out of GM’s grasp and was discovered underpinning a 1955 body in the 1970s. Another chassis swap ensued, and 1953 No. 3 just needed to be reunited with its original body. Mackay said the owner of that car, however, was not interested.
So, instead, Mackay is building a unique cutaway 1953 Corvette around the chassis. It’s something he said could be shown and enjoyed by the whole Corvette hobby.
Other aspects can catch a collector’s fancy. It should be no surprise that original color can affect value, but the effect might be bigger than you thought.
“Black is the most sought-after color for Vettes,” said Mackay. “A black 427/435 car could be worth double a green version.”
And then there are production oddities, the kinds of things that likely would never happen on today’s computerized assembly lines with their just-in-time parts inventory control systems. The fabulous center knockoff wheel offered as an option for the 1964-1966 Corvette actually made an earlier appearance. Mackay said 12 cars got the wheels in 1963. One is claimed to be a Z06 “big-tank” car.
Have a clue to a “lost” Corvette? Mackay would love to hear about it: [email protected] For the Silo, Jim Koscs/Hagerty.
Online casinos actively use bonuses and promotions to attract and retain players. For both beginners and experienced users, understanding how these offers work is important not only to increase the chances of winning but also to ensure safe and controlled gameplay. In this article, we will explore the types of bonuses, how to use them effectively, and what to pay attention to.
Types of Bonuses in Online Casinos
Modern online platforms offer a wide range of casino bonuses. The main types include:
Welcome bonuses – given to new players upon registration and first deposit.
Free spins – free spins on online slots, often included in welcome or seasonal promotions.
Cashback – a partial return of lost funds over a certain period.
Loyalty programs – points awarded for activity, which can be exchanged for bonuses or gifts.
Every bonus comes with wagering requirements, expiration dates, and bet limits. Ignoring these rules can nullify the value of the offer.
How to Use Bonuses Effectively
To get the most out of bonuses, follow a few simple guidelines:
Read the terms carefully – before activating a bonus, pay close attention to the rules, especially wagering requirements and game restrictions.
Plan your budget – use bonuses as an additional resource without exceeding your personal betting limits.
Combine with strategies – bonuses can be applied to online slots and table games, considering your chosen betting strategy.
For example, platforms like Martin Casino offer free spins and cashback systems with clear terms, helping both beginners and experienced players use bonuses safely and efficiently.
What to Watch for When Choosing a Bonus
Not all offers are equally profitable. When selecting a promotion, consider:
Bonus size – very large bonuses may come with complex wagering requirements.
Expiration date – always check how much time you have to meet the conditions.
Game restrictions – some bonuses apply only to specific online slots or types of bets.
Withdrawal conditions – make sure the wagering requirements are realistic and achievable.
Common Mistakes When Using Bonuses
Beginners often make typical mistakes, such as:
Activating all bonuses at once and losing control over their bankroll.
Not reading the terms and not knowing how to meet the wagering requirements.
Trying to use bonuses for “quick profit,” forgetting that gambling should be entertainment, not a guaranteed income source.
A responsible approach, budget and time management help players enjoy bonuses while minimizing risks.
The Future of Casino Bonuses and Promotions
With technological advancement, bonus offers are becoming more personalized. Artificial intelligence analyzes player behavior and suggests the most suitable promotions. Mobile casino bonuses and crypto-platform promotions are also gaining popularity, allowing fast and secure transactions.
Online casinos continue to use bonuses as a tool to increase player engagement. However, the key to successful play is understanding the rules, having a conscious approach, and managing your bankroll wisely.
FAQ
What is wagering a bonus?It is a condition requiring a certain number of bets before bonus funds can be withdrawn.
Can I use multiple bonuses at the same time? Usually not – most platforms allow only one bonus to be activated at a time to prevent abuse.
Which bonuses are best for beginners?Welcome bonuses and free spins are ideal because they let players try games without significant investments.
Can a bonus be lost? Yes, if wagering requirements are not met or betting limits are exceeded. How to choose a profitable bonus? Look at the size, expiration date, game restrictions, and realism of the wagering requirements.
Art Fair ArtVilnius 2024. Photo by Andrej Vasilenko
