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  • New Orleans church abuse documentary based on Guardian reporting wins top award | Catholicism

    New Orleans church abuse documentary based on Guardian reporting wins top award | Catholicism

    A film examining the Catholic clergy molestation crisis in New Orleans recently won the prize for best documentary at Colorado’s Winter Park film festival and has been chosen to be screened in the city where the scandal has unfolded.

    God As My Witness makes “clear that those who commit these atrocities cannot hide” while giving “a voice to the survivors, justice to the abused and a platform to be heard,” the Winter Park film festival’s director, Connor Nelson, said in a statement.

    Nelson’s statement said both of the film’s screenings at his festival in early September – which is based in part on reporting by the Guardian and its New Orleans media partner WWL Louisiana – sold out while leaving some audience members in tears. He also remarked that question-and-answer sessions with the documentary’s filmmakers, cast and crew “went far beyond anything we’ve experienced at the festival, … showing … that these conversations are necessary”.

    The 82-minute documentary was directed by New Orleans native Lindsay Quinn Pitre and produced by Michael Brandner Sr, who in 2018 discovered a pile of what were essentially love letters to his younger brother from a Roman Catholic priest now recognized by the New Orleans church as a credibly accused child molester.

    Brandner’s brother, Scot, who was a teenager when he received the letters in question from Brian Highfill, never told anyone about them and died by suicide at age 29 in the early 1990s.

    Michael presented the letters to New Orleans’ Catholic archbishop, Gregory Aymond. On a recorded phone call between the men, Aymond told Brandner that the letters were concerning but not “explicit enough” to warrant Highfill’s inclusion on a list released by the archdiocese that identified clergymen faced with substantial allegations of child molestation.

    Aymond ultimately added Highfill to that list in October 2020 after WWL and a reporter now at the Guardian questioned the archdiocese about at least three other people who had reported their own allegations of sexual abuse at the hands of the clergyman over the previous 18 years.

    God As My Witness recounts the Brandner family’s experience with Highfill, who died in 2018, as well as the stories of a number of people who endured being sexually abused as children by clergymen while being raised Catholic in New Orleans, building in part on reporting published by the Guardian alongside WWL. It also tells the stories of certain attorneys who have represented clergy abuse survivors against the New Orleans archdiocese after the church faced so many clerical molestation claims that it filed for federal bankruptcy protection in May 2020.

    The bankruptcy remained unresolved as of Wednesday, though more than 600 clergy abuse claimants who are involved in the case have started voting on whether to accept a settlement offer guaranteeing $230m in compensation in a process that runs through 29 October.

    Pitre, Brandner, their team and some of the subjects of God As My Witness accepted the Winter Park film festival’s best documentary award on 7 September. Brandner said it was uniquely emotional to see some of the survivors profiled in the film accept the award.

    “They converted from a victim to a survivor to a hero,” Brandner said. “It was truly beautiful and brought tears to my eyes.”

    God As My Witness had previously collected a best feature documentary nomination at June’s Raindance film festival in London, where it made its world premiere.

    It has also been screened at Portugal’s Cinema em Locais Inusitado e Temporarios film festival, where the Catholic bishop of the diocese of Setúbal, Cardinal Américo Aguiar, authorized for it to be shown in his private chapel. Among those in the audience was Grupo Vita, a Portuguese national support group for Catholic clergy abuse survivors.

    A statement from the Portugal festival director, Luìs Teixiera, said God As My Witness’ “local approach of a global topic succeeds in making it universal”.

    Among other showings on the fest circuit, Pitre said God As My Witness is tentatively scheduled to be screened at the 2025 New Orleans film festival, which is set to be held from 23 to 27 October. She said she understands tickets to that festival are scheduled to begin going on sale in about the second week of October.

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  • How to see the planet from above and below

    How to see the planet from above and below

    Sometimes the universe went easy on them. A comet, visiting from the edges of the solar system, showed up a week after Pettit reached orbit. Tafreshi observed the bright object in Puerto Rico, but Pettit “had the best view,” without Earth’s hazy atmosphere, with its pesky clouds, in the way. Not long after that, a major aurora storm appeared in the skies over Tafreshi’s house—how convenient!—and the photographers captured the event within hours of each other, their best timing of the entire endeavor. When it comes to the rippling, mystical green lights, two views are better than one. “If you look at the same ripple from orbit, you might find that it’s actually an oval,” Pettit said. It’s as if they had surrounded the shimmering phenomenon, revealing its true nature.  

    While Pettit was spared the difficulties that can ruin a photographer’s day on the ground—rainy weather, for example—his cameras would occasionally malfunction because of the constant, invisible barrage of cosmic radiation, and now and again artifacts of astronaut life sneaked into his shots. Once, Tafreshi was scanning Pettit’s images of the Maldives, in the Indian Ocean, when he noticed an intriguing patch of green in the water—an algal bloom? “I was so excited until I got the next few shots and I realized, This patch is moving very fast,” Tafreshi said. It turned out to be a weight-lifting machine, reflected in the space station’s windows. “Every crew member works out on this machine for an hour and a half a day,” Pettit said. He would occasionally ask his colleagues if they wouldn’t mind turning off the lights and working out in the dark, just for a few minutes. Not everyone obliged.


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  • Queen ants found giving birth to 2 different species

    Queen ants found giving birth to 2 different species

    Scientists say Iberian harvester (Messor ibericus) queen ants are able to give birth to ants of a different species. Image via Phil Honle/ The Conversation/ Wikimedia (CC BY-SA).
    • Iberian harvester queen ants have been found to routinely give birth to ants of a different species.
    • These queen ants rely on cross-species reproduction to produce workers. Some are hybrids of two species, but others contain none of the queen ant’s DNA.
    • Scientists say the discovery reshapes what “family” can mean in nature.

    This article is republished from The Conversation under a Creative Commons license. By Audrey O’Grady and Nataliia Kosiuk, University of Limerick. Edits by EarthSky.

    Queen ants found giving birth to 2 different species

    Imagine a mom who can have children from two different species. Family gatherings would be interesting, to say the least. In the insect world, this is no joke. A new study published in Nature on September 3, 2025, shows that queens of the Iberian harvester ant (Messor ibericus) routinely lay eggs of not just their own kind, but also of males of another species, Messor structor.

    The researchers even coined a word for it, xenoparity, meaning “foreign birth”. It pushes the boundaries of what we mean by “species.” And this is the first known case in the animal kingdom of this happening as part of an animal’s life cycle.

    Ants often reproduce unusually

    The most typical reproduction strategy in the natural world involves a mother and father of the same species who breed and produce sons and daughters, also of the same species.

    However, there are exceptions to the rule. Social insects, ants in particular, are known to violate it. A 1999 study found that 17 out of 164 central Europe ant species are known to create hybrid offspring.

    Typically, in ant colonies, fertilized eggs develop into workers and queens and unfertilized eggs develop into males. All the ants that we usually see foraging are females who cannot reproduce (workers), but do all the other work. Ants that breed – female queens and males – normally have wings and can be seen during mating flights. Afterwards, males often die while the females find new colonies.

    However, in some ant species, unfertilized eggs develop into female clones of the mother. This process is called parthenogenesis.

    Generally, ant colonies which include different ant species may contain either one or several queens that can mate with either single or multiple males. Some ant species produce only wingless males that mate inside the nest and never participate in nuptial flights.

    In 2002 an even more interesting reproduction strategy was found in two seed harvester ant species, common in southwestern US, whose queens have lost their ability to produce female workers of their own kind. They need to mate with a male from a different species to lay eggs that develop into hybrid species female workers. This cross-species mating is essential for the survival of both species.

    The new discovery

    And now, scientists have found a startling new insight into ant reproduction. The workers (females) in Iberian harvester ant colonies are hybrids. Like the seed harvester ants, the Iberian harvester queens can’t make workers on their own. They need sperm from M. structor, and the daughters are half M. ibericus, half M. structor. This is similar to social hybridogenesis documented in other harvester ants, where only cross-species daughters become workers.

    But the fascinating part is that Iberian harvester queens produce ordinary M. ibericus sons as well as M. structor sons. These males aren’t hybrids. They’re clones, carrying only their father’s DNA. Iberian harvester queens act almost like a rental womb. This resembles male-only cloning known from some clams and stick insects.

    The researchers sequenced the DNA of hundreds of Iberian harvester ants and repeatedly found this same pattern.

    M. ibericus and M. structor split from a common ancestor millions of years ago. They look and behave differently in the wild, with M. ibericus having smaller queens. Yet one is now literally producing the other. Multiple colonies of M. ibericus live together in habitats ranging from pastures to suburban areas. But M. structor ants are a mountain species and their colonies live separately. The two ant species can live close together in overlapping habitats in lanes and fields near mountains.

    The cloned M. structor sons raised inside M. ibericus colonies don’t just differ genetically, they even look odd. Compared with their wild cousins, they appear almost hairless.


    Want to know more about ants? Watch this video.

    How did queen ants evolve to do this?

    The most probable explanation of how this reproduction strategy evolved is a phenomenon called sperm parasitism. This is when females of one species use sperm of the males of another species to stimulate asexual reproduction or even partially incorporate the male’s genome into their offspring.

    Over time, they cut out the middleman (adult M. structor males) and started making their own supply of cloned M. structor males. Instead, they mate with these clones that hatch in the colony nest.

    It shows that evolution can re-engineer reproduction in radical ways. People sometimes like to think nature follows straight paths. Parents make their own species. Colonies stick to one lineage.

    But evolution doesn’t care about our rules. So the next time you see ants marching across a path, remember, somewhere in southern Europe, there’s a queen casually running a two-species household. And you thought your family tree was complicated.

    Audrey O’Grady, Associate Professor in Biology, and Nataliia Kosiuk, PhD Candidate in Biological Sciences, University of Limerick.

    This article is republished from The Conversation under a Creative Commons license. Read the original article.

    Bottom line: Scientists have found that Iberian harvester queen ants routinely give birth to two different species.

    Read more: Ants, little but tough: Lifeform of the week

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  • AI Chip Startup Groq Raises $750 Million at $6.9 Billion Valuation

    AI Chip Startup Groq Raises $750 Million at $6.9 Billion Valuation

    Artificial intelligence chip startup Groq Inc. raised $750 million at a post-funding valuation of $6.9 billion, highlighting investor interest in companies seeking to alleviate a shortage of chips and computing power for AI workloads.

    The round was led by Disruptive, with “significant investment” from Blackrock Inc., Neuberger Berman Group LLC and Deutsche Telekom Capital Partners, as well as existing investors including Samsung Electronics Co., Cisco Systems Inc., D1 and Altimeter. Participants also included a “large US-based West Coast mutual fund,” Groq said in a statement.

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  • US Adults Worry AI Will Make Us Worse at Being Human, New Survey Says

    US Adults Worry AI Will Make Us Worse at Being Human, New Survey Says

    There are widespread fears that artificial intelligence will harm our social and emotional intelligence, empathy and sense of individual agency by 2035, according to a new survey published Wednesday by Elon University’s Imagining the Digital Future Center.

    The national survey asked 1,005 US adults to rate how they think AI will impact human capacities and behaviors, including moral judgment, self-identity and confidence. In every area, respondents believed the effect of AI tools and systems over the next decade would be more negative than positive.

    Graph showing how the public rates AI's effect on key human cognitive and social traits in the coming decade

    The general public rated AI’s impact on key human traits as negative.

    Elon University Imagining the Digital Future Center

    In terms of the bigger picture, the researchers found that US adults expected AI to have a mixed impact on “the essence of being human” over the coming decade. Two in five (41%) said AI will provide as much good as it will harm, with 25% believing AI changes will be mostly for the worse. Only 9% said AI will change humanity for the better.

    “The grand narratives about AI have gone in both directions,” said Lee Rainie, director of the Imagining the Digital Future Center and one of the report’s authors. For as many stories as there are about AI’s outstanding abilities, many more show how it can hurt people. The respondents’ mixed views on the technology could reflect that. “They do have a sense of these warring narratives,” Rainie told CNET in an interview.

    And the stories are everywhere, as AI grows to play a bigger role in education, workplaces and health care. Tech companies are spending billions of dollars to develop the most advanced AI. Google has integrated its Gemini AI into every part of its business, and ChatGPT’s daily active users reached a record high of 700 million in August. As AI tools and systems become more capable and integrated into our lives, it’s important to evaluate their impact on how we think, act and do things. 


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    Concerns over critical thinking, mental health

    The same survey questions were given to a group of tech pioneers, builders and analysts earlier this year, with some observable differences in how those experts perceive AI’s impact on humanness compared to the public. In general, the experts were less pessimistic about AI’s impact on human traits, whereas the public reported more concerns about AI harming our intelligence and cognitive abilities, such as the ability to think critically, make decisions and solve problems. 

    Interest in how AI affects our brain’s learning processes is not new. An MIT study in July found significant differences in brain activity between people writing using AI versus those who don’t. Those who used AI reported a “superficial fluency” but didn’t retain a deep understanding or sense of ownership over their knowledge. The study renewed uneasiness over the role AI could play in education and learning.

    A key theme in recent studies is the concern that people could increasingly delegate important thought processes, like decision-making and problem-solving, to AI. Advances in AI technology are getting better at handling work tasks, and the rise of agentic AI makes it easier for chatbots to complete tasks independently. These semi-autonomous tools can be more efficient than humans in some cases. However, AI isn’t foolproof and can hallucinate or make up false information, so letting it take the reins on important decisions can have negative consequences.

    Another massive concern is the impact of AI on its users’ mental health. Individual well-being has been a point of conversation, as more examples emerge of how AI is an inadequate replacement for therapists. Teenagers and children are particularly vulnerable, with more than a few high-profile cases of AI enabling self-harm and suicide. The issue has drawn the attention of Congress and advocacy groups, leading them to inspect the effectiveness of AI guardrails to prevent misuse and abuse.


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  • June Leaf at the Grey Art Museum — grace and rage in one thrilling mix

    June Leaf at the Grey Art Museum — grace and rage in one thrilling mix

    June Leaf, who died last year at 94, refused to put herself in a box, although her art includes all sorts of confining containers. Leaf’s 75-year career trajectory only rarely crossed her peers’; her mythology was too personal, her humour too wry, her work too intense and magnificently repulsive to have found a comfortable place in a movement. She knitted together crassness with grace, wonder with vulgarity.

    To the extent that she’s known at all, it’s as the wife of photographer Robert Frank, whose shadow hid her tempestuous creativity. Now, thanks to the indispensable survey by New York’s Grey Art Museum, you can see a powerful selection of her paintings, drawings and sculptures in all their terrible glory.

    Co-organised with the Addison Gallery of American Art in Andover, Massachusetts, and the Allen Memorial Art Museum at Oberlin College, Ohio, the show unfolds thematically, rather than chronologically, a better way to apprehend the sweep and scope of Leaf’s achievement.

    Robert Frank’s ‘June’s Hand and Sculpture, Mabou’ (c1980) © June Leaf and Robert Frank Foundation
    A mirrored box diorama by June Leaf shows a metallic, abstract figure seated at a table in a detailed, reflective interior with a chandelier.
    Detail of Leaf’s ‘The Vermeer Box’ (1966) © Estate of June Leaf

    It begins with the mirrored-glass of “The Vermeer Box” of 1966. Leaf puzzled obsessionally over the mysterious relationships that Vermeer veiled in silent luminosity. She tried at first to reproduce those ambiguities in paint, but in the end settled on a hybrid form, restaging “The Glass of Wine” (c1660) as a diorama. In the original, a man hovers, clutching a jug, over a young woman. His face is obscured by a wide-brimmed hat; hers hides behind a white cap as she sips from a goblet. In Leaf’s version, the man has become a skeleton, his smile a toothy leer. His companion dissolves in a cubist cascade of mirrors, at once reflecting and deflecting the viewer’s gaze.

    The artist’s voice weaves through the exhibition, so that the wall labels become a fragmentary narration, full of hauntings and lilting menace. “Now we come to the secret,” Leaf says of “The Vermeer Box”. “The secret is what I must have seen as a child. The secret is that in this room is all the treachery that’s possible between people. He’s going to destroy her. In that safe, quiet, clean room, with all the shadows, the bookcases and the pictures, are all the worst things that can happen: betrayal, lovelessness, falseness and lies.”

    An illustration showing a figure standing at a table in a sparse motel room, with hands, photos, and small objects in the foreground and a window scene outside.
    ‘ Motel Room’ (1975) © Estate of June Leaf

    Born in Chicago in 1929, Leaf grew up around the tavern that her parents owned and her mother ran while her father (“a man who never woke up”, she recalls) was off gambling. The bar, and the city around it, inspired paintings crowded with grotesques. Her parents’ customers crop up in the form of figures she frankly described as “ugly” and “crude”, populating arcades, theatres, dance halls and circuses.

    A gang of such types close in on a frowzy, porcine-faced woman with bleached blond hair who’s metamorphosing into a farm animal before their eyes. Leaf wanted to pump “the highest voltage possible” into “Ascension of Pig Lady” (1968), and the mural-scale painting certainly crackles. A troupe of puppeteers manipulate her arms with strings while a gnomish fellow in a yellow suit pokes her with a stick to find out whether she’s made of papier-mâché or flesh and blood. A family straggles by, enjoying the sinister fun. There’s an air of nihilistic allegory to the scene; it’s a honky-tonk myth about an unfortunate cross between mythology’s Daphne and Kafka’s Gregor Samsa.

    An installation by June Leaf featuring painted and sewn life-size figures in a carnival-like scene, with one figure suspended above others.
    ‘Ascension of Pig Lady’ (1968) © Estate of June Leaf/Museum of Contemporary Art Chicago/Art Resource, NY
    Two metal female figures face each other, standing on a horizontal rod and holding wires connected to a circular frame, with a vertical saw blade between them.
    Detail of ‘Two Women on a Jack’ (2001) © Estate of June Leaf and Ortuzar, New York/Dario Lasagni

    This stagy phase of the 1960s recalls Red Grooms’ gleefully vulgar tableaux, plus a whole lineage of virtuosi of grotesquerie. You can find traces of Hieronymus Bosch, James Ensor, Max Beckmann and, especially, Reginald Marsh, whose exuberant pictures of burlesque hoofers, Coney Island bathers and strutting throngs flaunt a taste for the luridly lovely.

    In 1970, after stints in Paris and New York, Leaf and Frank moved to Mabou, Nova Scotia — about as far as you can get from urban tumult. Forced to turn inward, she also looked back. What she found there was a memory of herself as a toddler, sitting beneath a sewing machine, mesmerised by the rhythmic movement of her mother’s feet. A treasure floated down from above: a snippet of gauzy blue fabric patterned with white dots. That was the moment she knew that from then on, she would “make everything all my life with my hands”.

    In Mabou, the sewing machine — “the only object I ever wanted to own” — became her totem and her topic. “I once bought an old sewing machine and I took it back home and I smashed it,” she said. “I threw it out the window because I wanted to see it break so I could see what it was made out of.”

    That act may have satisfied her destructive impulse, but not her curiosity. She collected and took apart many sewing machines, then reassembled the liberated parts, along with hand-cranked eggbeaters and various domestic objects, into a series of art machines. Tin, wire, rods, wheels, shafts and springs became her medium, and even her ink drawings resemble the traces of metal pieces that have bled on to paper.

    A mixed media assemblage sculpture by June Leaf depicts a seated human figure with wire wings, mounted on a treadle base.
    ‘Angel on Treadle’ (1980-90) © The Estate of June Leaf/Mark Gulezian

    Her masterwork of creepy bricolage is “Angel on a Treadle”, which came together over the course of the 1980s. It’s a sculptural portrait of a seated woman — perhaps herself, her mother and grandmother fused into one exploded body. The legs are solid, the feet large, poised just above the floor and shackled to the frame of a Wanzer sewing machine. The head and upper torso, too, have a certain heft, which supports the wire angel’s wings sprouting from her shoulder blades. But those parts are threadbare, even shredding, and the midsection — breasts, belly, womb and buttocks — is all but gone.

    Yet this jerry-built mechanical figure on an iron throne still has its fearsome life force, projecting an indestructible authority. She reads as an autobiographical archetype. Leaf’s mother had wanted her daughter to follow the conventional path: marriage to a successful professional, a pack of children, a house in the suburbs. The artist had other plans, and their dance of wills went on for years; her internal conflicts lasted far longer. This earthbound angel expresses Leaf’s desire to free herself from expectations, and also the fear that she might succeed. The treadle is both a tool and a cage, the angel a creature divided between fetters and flight.

    To December 13, greyartmuseum.nyu.edu

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  • Garmin’s new Bounce watch for kids doubles the price, not the features

    Garmin’s new Bounce watch for kids doubles the price, not the features

    Garmin announced a new version of its Bounce smartwatch for kids that first debuted in 2022 with tracking and communication features powered by an LTE connection. The Bounce 2 introduces a new design and upgrades that include two-way talking instead of just voice messaging. It looks less like a kids watch now, but the limited upgrades may not be enough to justify a price jump from $149.99 to $299.99 for the new model which is now available through Garmin.

    The original Bounce featured a square design (which potentially appealed to some kids with Apple Watch envy) and an LCD screen, while the new Bounce 2 is round with a more vivid 1.2-inch AMOLED display. Text messaging is still an option but the Bounce 2 has improved voice messages with a new feature that will transcribe them so they can be read or listened to.

    The Bounce 2 carries forward real-time location tracking through the Garmin Jr. app and still lets parents opt for alerts when kids leave a designated area using temporary geofencing. Battery life stays the same at up to two days between charges, but a new feature that lets kids download and listen to songs from Amazon Music could reduce that. Although the watch itself has doubled in price, LTE connectivity is still $9.99 per month or $99.99 annually with one of Garmin’s Kids Smartwatch Plans.

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  • Scientists create 3D printed artificial skin that allows blood circulation

    Scientists create 3D printed artificial skin that allows blood circulation



     Scientists create 3-D printed artificial skin that allows blood circulation

    Swedish researchers at Linkoping University have made a significant breakthrough by developing two 3D bioprinting techniques to artificially generate thick skin that can develop a functional vascular network.

    This is a crucial step towards creating durable and natural-looking skin for patients with severe injuries.

    However, two distinct technologies take different approaches to the same challenge.

    The desired study results were published in the journal Advanced Healthcare Materials.

     Johan Junker, an associate professor at Linkoping University, said that the dermis is so complicated that they won’t grow it in a lab. That’s why they decided to transplant the building blocks and then let the body make the dermis itself.

    Junker and his team designed a bio-ink called “ulnk” in which fibroblasts are cultured on the surface of small spongy elastin grains and sheathed in a hyaluronic acid gel.

    They were able to create a skin structure filled with high-density cells at will by building this ink three-dimensionally using a 3D printer.

    The research team has also created a technology called REFRESH (Rerouting of Free-Floating Suspended Hydrogel Filaments) which enables the adaptable structure of blood vessels in artificial tissues by printing and arranging threads of hydrogel that is 98 percent water.

    Moreover, these threads were particularly tougher than ordinary gel materials; they could maintain their shape even when tied and also had shape memory properties that allowed them to return to their original form.

    When the hydrogel threads are discovered by a specific enzyme, only a long, thin cavity remains in their original place. These channels can then be used as a flow equivalent to a blood vessel, enabling a network of blood vessels to be freely formed inside artificially created tissue.

    This technology represents a significant step in developing complex and viable organs and tissues.

    The researchers succeeded in constructing a complex 3D network. They hope to continue this with technology to automate such operations and hereby create a method to efficiently stretch a network of blood vessels throughout an official organ.

    Due to uncertainties in the wound environment, such as inflammations and bacterial infections, new techniques will be needed to bridge the gap between research results and clinical application.

    These technologies may be a breakthrough in solving these problems in regenerative medicine in the near future.

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  • VF Corporation Announces Participation at the Wells Fargo 8th Annual Consumer Conference :: VF Corporation (VFC)

    VF Corporation Announces Participation at the Wells Fargo 8th Annual Consumer Conference :: VF Corporation (VFC)

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    DENVER–(BUSINESS WIRE)–
    VF Corporation (NYSE: VFC) announced today that Bracken Darrell, President and CEO, and Paul Vogel, CFO, will participate in a fireside chat at the Wells Fargo 8th Annual Consumer Conference, being held today Wednesday, September 17, 2025 at 8:00 a.m. PT.

    The event will be broadcast live via the Internet, accessible at ir.vfc.com. For those unable to listen to the live broadcast, an archived version and transcript will be available at the same location following the event.

    About VF

    VF Corporation is a portfolio of leading outdoor, active and workwear brands, including The North Face®, Vans®, Timberland® and Dickies®. VF is committed to providing consumers with innovative products that are rooted in performance and elevated design, while delivering sustainable and long-term value for its employees, communities, and shareholders. For more information, please visit vfc.com.

    Investor Contact:

    Allegra Perry

    ir@vfc.com

    Media Contact:

    Colin Wheeler

    corporate_communications@vfc.com

    Source: VF Corporation

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  • Mysterious “Universe Breaker” Red Dots Could Be Black Holes in Disguise

    Mysterious “Universe Breaker” Red Dots Could Be Black Holes in Disguise

    Artist’s impression of a black hole star (not to scale). Mysterious tiny pinpoints of light discovered at the dawn of the universe may be giant spheres of hot gas that are so dense they look like the atmospheres of typical nuclear fusion-powered stars; however, instead of fusion, they are powered by supermassive black holes in their center that rapidly pull in matter, converting it into energy and giving off light. Credit: T. Müller/A. de Graaff/Max Planck Institute for Astronomy

    Astronomers at Penn State have nicknamed the objects “universe breakers,” which may be unusual black hole atmospheres and could represent a missing link in the fast growth of supermassive black holes.

    Small, faint red sources detected by NASA’s James Webb Space Telescope (JWST) are giving astronomers fresh clues about how galaxies formed in the early universe — and may point to a completely new category of cosmic object: a black hole consuming huge amounts of matter while emitting light.

    When the telescope’s first data became available in 2022, an international collaboration that included researchers from Penn State identified puzzling “little red dots.” At first, the team proposed that these objects could be galaxies as developed as today’s Milky Way, which is about 13.6 billion years old, existing only 500 to 700 million years after the Big Bang.

    Rethinking early galaxies

    The researchers informally named the objects “universe breakers,” since they initially appeared to be galaxies far older and more evolved than expected in the early universe — a finding that would challenge long-held ideas of galaxy formation.

    In a paper published on September 12, 2025, in Astronomy & Astrophysics, the team, which included astronomers and physicists from Penn State, proposed a different explanation. They argue the red dots are not galaxies at all but a previously unknown type of object known as a black hole star.

    According to their analysis, the faint points of light may actually be enormous spheres of hot gas so compact that they resemble the atmospheres of ordinary stars fueled by nuclear fusion. In this case, however, the energy source is not fusion but supermassive black holes at their centers, which draw in matter at high speed, transform it into energy, and emit light.

    One gigantic cold star

    “Basically, we looked at enough red dots until we saw one that had so much atmosphere that it couldn’t be explained as typical stars we’d expect from a galaxy,” said Joel Leja, the Dr. Keiko Miwa Ross Mid-Career Associate Professor of Astrophysics at Penn State and co-author on the paper. “It’s an elegant answer really, because we thought it was a tiny galaxy full of many separate cold stars, but it’s actually, effectively, one gigantic, very cold star.”

    Leja explained that cold stars give off only faint light because their surface temperatures are much lower than those of typical stars. Although the majority of stars in the universe fall into this low-mass, cooler category, they are often difficult to detect since their dim glow is overshadowed by the rarer but much brighter massive stars. Astronomers recognize cold stars by their emission in the red optical and near-infrared range, wavelengths of light that are no longer visible to the human eye. In contrast to the extremely hot gas usually found near supermassive black holes, which can reach millions of degrees Celsius, the light from these “red dot” black holes was dominated by very cold gas. According to the researchers, this emission closely resembled the atmospheres of low-mass, cold stars, based on the wavelengths detected.

    Seeing back in time

    The most powerful telescope in space, JWST was designed to see the genesis of the cosmos with infrared-sensing instruments capable of detecting light that was emitted by the most ancient stars and galaxies. Essentially, the telescope allows scientists to see back in time roughly 13.5 billion years, near the beginning of the universe as we know it, Leja explained.

    From the moment the telescope turned on, researchers around the world began to spot “little red dots,” objects that appeared far more massive than galaxy models predicted. At first, Leja said, he and his colleagues thought the objects were mature galaxies, which tend to get redder as the stars within them age. But the objects were too bright to be explained — the stars would need to be packed in the galaxies with impossible density.

    Extreme object named the cliff

    “The night sky of such a galaxy would be dazzlingly bright,” said Bingjie Wang, now a NASA Hubble Fellow at Princeton University who worked on the paper as a postdoctoral researcher at Penn State. “If this interpretation holds, it implies that stars formed through extraordinary processes that have never been observed before.”

    To better understand the mystery, the researchers needed spectra, a type of data that could provide information about how much light the objects emitted at different wavelengths. Between January and December 2024, the astronomers used nearly 60 hours of Webb time to obtain spectra from a total of 4,500 distant galaxies. It is one of the largest spectroscopic datasets yet obtained with the telescope.

    In July 2024, the team spotted an object with a spectrum that indicated a huge amount of mass, making it the most extreme case of such an early and large object. The astronomers nicknamed the object in question “The Cliff,” flagging it as the most promising test case to investigate just what those “little red dots” were.

    A fiery cocoon of gas

    “The extreme properties of The Cliff forced us to go back to the drawing board, and come up with entirely new models,” said Anna de Graaff, a researcher for the Max Planck Institute for Astronomy and corresponding author on the paper, in a Max Planck Institute press release.

    The object was so distant that its light took roughly 11.9 billion years to reach Earth. The spectra analysis of that light indicated it was actually a supermassive black hole, pulling in its surroundings at such a rate that it cocooned itself in a fiery ball of hydrogen gas. The light that Leja and his colleagues spotted was coming not from thick clusters of stars, but from one giant object.

    Black holes at galaxy centers

    Black holes are at the center of most galaxies, Leja explained. In some cases, those black holes are millions or even billions of times more massive than our solar system’s sun, pulling in nearby matter with such strength that it converts to energy and shines.

    “No one’s ever really known why or where these gigantic black holes at the center of galaxies come from,” said Leja, who is also affiliated with Penn State’s Institute for Computational and Data Sciences. “These black hole stars might be the first phase of formation for the black holes that we see in galaxies today — supermassive black holes in their little infancy stage.”

    He added that JWST has already found signs of high-mass black holes in the early universe. These new black hole star objects, which are essentially turbocharged mass-builders, could help explain the early evolution of the universe — and may be a welcome addition to current models. The team is planning future work to test this hypothesis by examining the density of gas and strength of these early black hole stars, Leja said.

    Of course, the mysterious “little red dots” are great distance away in both time and space — and their small size makes it especially challenging to get a clear picture.

    “This is the best idea we have and really the first one that fits nearly all of the data, so now we need to flesh it out more,” Leja said. “It’s okay to be wrong. The universe is much weirder than we can imagine and all we can do is follow its clues. There are still big surprises out there for us.”

    Reference: “A remarkable ruby: Absorption in dense gas, rather than evolved stars, drives the extreme Balmer break of a little red dot at z = 3.5” by Anna de Graaff, Hans-Walter Rix, Rohan P. Naidu, Ivo Labbé, Bingjie Wang, Joel Leja, Jorryt Matthee, Harley Katz, Jenny E. Greene, Raphael E. Hviding, Josephine Baggen, Rachel Bezanson, Leindert A. Boogaard, Gabriel Brammer, Pratika Dayal, Pieter van Dokkum, Andy D. Goulding, Michaela Hirschmann, Michael V. Maseda, Ian McConachie, Tim B. Miller, Erica Nelson, Pascal A. Oesch, David J. Setton, Irene Shivaei, Andrea Weibel, Katherine E. Whitaker and Christina C. Williams, 10 September 2025, Astronomy & Astrophysics.
    DOI: 10.1051/0004-6361/202554681

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