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  • Athletics: 2025 NACAC Track and Field Senior Championships: Shaunae Miller-Uibo and Jerome Blake headline action

    Athletics: 2025 NACAC Track and Field Senior Championships: Shaunae Miller-Uibo and Jerome Blake headline action

    Stars to watch at the 2025 NACAC Track & Field Championships

    Bahamian sprinter Miller-Uibo can’t wait to compete in front of her home fans.

    The two-time Olympic gold medalist secured a spot on the Tokyo-bound team by finishing in second place at the National Championships in 51.41 seconds, her fastest time since giving birth last year.

    Printassia Johnson, the winner of the 400m women’s race at The Bahamas Trials, will also participate in the regional competition.

    Gardiner, who also achieved notable success in Nassau by winning his first 200m national title, will concentrate on the half lap and the men’s 4x100m relay.

    Canada’s top sprinters are also expected to take centre stage. Their roster is headlined by world champions Blake, Rodney and Brown, who were members of the Olympic gold medal-winning 4x100m relay team in Paris, as well as shot putter Sarah Mitton.

    Olympic sprinter Terry, who came in fourth place in the 100 metre race at the 2025 USA Trials, is the fastest of the 18 women who are set to start on Friday, 15 August. Team USA’s favourite in the 200m is Brittany Brown, the Olympic bronze medallist. Hurdler CJ Allen and Vashti Cunningham are the other experienced athletes in the US squad that have dominated the past four editions of the event.

    Among the standout names on the entry list are Jamaica’s Christopher Taylor, the 400m champion from the 2022 edition also held in Freeport, and Olympic triple jump silver medallist Shanieka Ricketts. Returning from a two-year hiatus, Taylor is aiming for the 200 metre qualifying mark for September’s World Championships.


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  • Musk says xAI to take legal action against Apple over App Store rankings – Reuters

    1. Musk says xAI to take legal action against Apple over App Store rankings  Reuters
    2. Musk threatens ‘immediate’ legal action against Apple over alleged antitrust violations  CNBC
    3. Elon Musk threatens to sue Apple over app store ranking of his AI app  CNN
    4. Musk and OpenAI CEO Altman clash over Apple and X  Digital Watch Observatory
    5. ‘GTP5 10X Better Than Grok’: Sam Altman Accuses Elon Musk Of Using X To Target Rivals | Viral News  News18

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  • Paris vs Tottenham Super Cup preview: Where to watch, kick-off time, predicted line-ups – UEFA.com

    1. Paris vs Tottenham Super Cup preview: Where to watch, kick-off time, predicted line-ups  UEFA.com
    2. European Super Cup: Ousmane Dembélé wants to win everything with PSG  Foot Africa
    3. Key topics from Ben and Vic’s press conference in Udine  OneFootball
    4. UEFA bans legendary stadium from hosting final  Gazeta Express
    5. Tottenham news: PSG ‘are not unbeatable’ in Super Cup – Ben Davies  BBC

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  • ‘We wondered if it was ethical to adapt it’: can poetry about deaf resistance wow theatre audiences? | Theatre

    ‘We wondered if it was ethical to adapt it’: can poetry about deaf resistance wow theatre audiences? | Theatre

    In Vasenka, a fictional town under military occupation, a deaf boy is shot by soldiers and the town’s inhabitants become deaf in response. The opening of Deaf Republic – the remarkable second collection by the Ukrainian-American poet and translator Ilya Kaminsky – sets in train a narrative of resistance through silence, as “deafness, an insurgency, begins” and the soldiers start executing the citizens of Vasenka, who refuse to hear their orders.

    Since its publication in 2019, Deaf Republic has won multiple awards and been critically lauded for what Andrew Motion has described as “a folk drama that feels archetypal, yet is deeply revealing of our here and now”. That quality of being current, urgent in its commentary on war yet as timeless as a fable, appealed to Bush Moukarzel and Ben Kidd, co-directors of theatre company Dead Centre, who have adapted the work for stage.

    “Kaminsky’s genius is to make the reader feel they understand more than they do,” says Kidd in between rehearsals in Dublin. “Yet some of the poems are inscrutable. The choice to use a story, the narrative of what happens to the townspeople, is important. Then he drops in his lyric poems and you’re stopped short. There are two things going on formally, and it suggests itself as a piece that could be adapted.”

    Kaminsky, who lost his own hearing as a child and did not have hearing aids until he moved to the US in his teens, also incorporates sign language symbols into his text, which are a mixture of American and Ukrainian signs. In the book he wanted to reflect his experience of being an immigrant in the US, while also frequently returning to Ukraine.

    “I was living with one foot in both places,” he says, speaking online from the US. To reflect this, the central narrative is bookended by two poems – We Lived Happily During the War and In a Time of Peace – that echo each other and transpose the image of the body of a dead boy lying on a pavement from the fictional Vasenka to the US today.

    ‘There are layers of theatre-within-theatre in it’ … from left: Kate Finegan, Lisa Kelly, Romel Belcher, Caoimhe Coburn Gray and Eoin Gleeson in rehearsals. Photograph: Johnny Corcoran

    “What is complicated is seeing these images of violence in one of the poorest countries in Europe [Ukraine] and one of the richest countries in the world,” says Kaminsky. “I realised I needed to change the genre I’m writing in. I needed a genre that speaks to both sides of my life. So the book is a kind of fairytale, it’s dream time, a fantasia. A fairytale was a necessity, to speak about both these landscapes, Ukraine and the US.”

    “There are layers of theatre-within-theatre in it,” Moukarzel says. “The way it is presented, with the first line ‘Our country is the stage’, the list of dramatis personae of townspeople and the puppet theatre run by the character of Momma Galya, all this adds theatricality. We were intrigued. But we wondered if it was ethical to adapt it: was it our story to tell, especially the deaf experience? That gave us pause. We needed to build the right team.”

    Thankfully, the two directors have history when it comes to pushing boundaries on stage. Their show Beckett’s Room told the story of the apartment in Paris where Samuel Beckett lived with his partner Suzanne during the second world war without using any live actors.

    In this production there will be an ensemble created from deaf and hearing actors, along with aerial performers, live cinema and poetry, using a mix of spoken English, British Sign Language (BSL), Irish Sign Language and creative captioning. On the day I sat in on a rehearsal, there was also a slightly out of control drone and some beautifully crafted string puppets making a tentative appearance.

    ‘I needed a genre that speaks to both sides of my life’ … Ilya Kaminsky. Photograph: Suki Dhanda/The Observer

    Watching keenly was Zoë McWhinney, a deaf poet and actor who co-authored the script with Kidd and Moukarzel. “We gave each other a lot of freedom from the start,” McWhinney says, speaking through an interpreter. She used BSL to work on the rough script, recording herself on video. “In some ways, it is BSL-led, rather than spoken English,” she says. McWhinney also brought in Visual Vernacular (VV) – a form of performance art that draws on sign language, mime and theatre.

    “BSL is for conversation, for prose, whereas VV is much closer to poetry,” says McWhinney. “There is a rhythm and pace to it. Through gesture and movement, facial expressions, hand movement, you can see the image: you’re almost personifying the language.”

    For Kaminsky, it was Dead Centre’s innovative approach to adapting nonfiction that appealed to him. “The way they spoke about implicating the audience was fascinating to me. I thought, ‘I’m getting an education here, keep it coming!’ I didn’t want to see a Xerox copy of my book. It’s up to them to create their own art form; otherwise the energy gets stiff. And I want the energy to be electric.”

    Deaf Republic is at Royal Court theatre, London, 29 August-13 September, then at the Samuel Beckett theatre, Dublin, 2-5 October, as part of Dublin Theatre festival

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  • Musk’s legal threats are ‘massive … headwind for Apple,’ Dan Ives says

    Musk’s legal threats are ‘massive … headwind for Apple,’ Dan Ives says

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  • ‘KPop Demon Hunters’ Hit Movie Theaters for Sing-Along Event

    ‘KPop Demon Hunters’ Hit Movie Theaters for Sing-Along Event

    KPop Demon Hunters, the hit Netflix animated feature and soundtrack, is headed back to select theaters with a sing-along event set for screenings across North America on Aug. 23 and 24.

    The KPop Demon Hunters A Sing-Along Event will see fans of Huntrix and Saja Boys join along to sing chart-topping songs like “Golden” and “Your Idol.” Netflix is also looking to fill theaters later this month for extra revenue after the movie became a surprise hit for the streamer since debuting in June.

    The project centers on the adventures of Huntrix, a girl group comprised of three members who just happen to also fight monsters from the underworld. The movie’s soundtrack also made the top 10 list for the Billboard 200 chart, with “Golden” becoming a number one hit.

    A synopsis from the producers of KPop Demon Hunters reads: “When they aren’t selling out stadiums, Kpop superstars Rumi, Mira and Zoey use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise.”

    Maggie Kang and Chris Appelhans directed the animated feature for Sony Pictures Animation, based on a screenplay by Danya Jimenez, Hannah McMechan, Kang and Appelhans. The ensemble cast includes Arden Cho, Ahn Hyo-seop, May Hong, Ji-young Yoo, Yunjin Kim, Joel Kim Booster, Liza Koshy, along with Daniel Dae Kim, Ken Jeong and Byung Hun Lee

    The original songs for KPop Demon Hunters were performed by EJAE, Audrey Nuna, REI AMI, Andrew Choi, Danny Chung, Kevin Woo, samUIL Lee, Neckwav and Lea Salonga, while Jeongyeon, Jihyo and Chaeyoung performed their own original song.

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  • Gender Differences in Academic Retractions: 2008–2023 Data

    Gender Differences in Academic Retractions: 2008–2023 Data

    Retraction rates are not equal across male and female leading and corresponding authors.

    New data from researchers in the UK and China suggest that male authors retract more than their female colleagues.

    “Our research provides policymakers across all countries and disciplines with an understanding of the current situation of retractions from a gender perspective,” Er-Te Zheng, PhD researcher at the University of Sheffield and lead author of the study, told Technology Networks. “This can help them develop targeted measures based on the actual retraction realities of different genders, encouraging scholars of all genders to engage in fewer instances of academic misconduct.

    The gender gap in science’s “dark side”

    Much of the existing research on gender differences in science has focused on the “bright side” of research, such as publication counts, citation impact, grant success rates and career advancement, Zheng observed. Meanwhile, “research on the ‘dark side’ of science – particularly in areas such as retractions and scientific misconduct – remains scarce,” he said.

    Retraction rates have rapidly increased over recent years. Perhaps this reflects a rise in misconduct, or the fact that scientists and journals have simply become more aware of – and proactive against – flawed practices that have long existed.

    Research on rising retraction rates has examined factors like career pressures, paper mills and the “publish or perish” culture. Few studies have explored links between gender and retraction.

    “Existing studies in this area often rely on only a few hundred or thousand retracted articles for case analysis, typically finding that male researchers account for a higher proportion of authors in these retraction samples,” Zheng explained. However, male researchers typically publish more papers than their female peers, ergo a higher number of retractions from male authors doesn’t necessarily point to a higher level of misconduct by men.

    What is a retraction in academic publishing?

    A retraction in academic publishing occurs when a journal or researcher declares a paper so flawed that its conclusions are unreliable, effectively removing it from the scholarly record.

    Zheng and colleagues’ study introduced, for the first time, the concept of a retraction rate, and the male-to-female retraction ratio, to assess gender differences in retractions using more precise indicators and a big-data perspective.

    “Our approach incorporates both retracted and non-retracted publications for male and female researchers, enabling us to calculate the ratio of the number of retracted articles authored by a gender to the total number of articles authored by that gender (retraction rate), and the ratio of male-to-female retraction rates,” Zheng explained.

    “This allows us to more accurately assess the actual extent of gender differences in retractions, rather than relying solely on the raw counts of retracted papers.”

    Global study reveals gender gaps in retraction rates and reasons

    Research papers published from 2008–2023, including over 10,000 retracted articles and almost 20 million non-retracted articles, were included in the study. “We obtained data on retraction reasons from the Retraction Watch database, which is widely recognized as the most comprehensive repository of retracted articles,” said Zheng.

    The Retraction Watch Database utilizes a highly detailed classification system for documenting retraction reasons, which comprises 111 categories. “Drawing on the detailed descriptions provided by the Retraction Watch, as well as prior research on retraction reason classification, we refined these into nine overarching categories: Mistakes, fabrication/falsification, duplication, plagiarism, ethical issues, authorship issues, single reason, multiple reasons and reasons uncategorizable or not available.”

    Gender differences in retractions across scientific disciplines and countries were also assessed.

    Overall, retraction rates were higher in men than women, whether analyzing first authors or corresponding authors.

    Male first authors had significantly higher rates for almost all retraction reason categories except for “mistakes” where no gender differences were observed. Male first authors have much higher retraction rates for “plagiarism” and “authorship issues” compared to female first authors.

    Gender differences in retractions across scientific disciplines and countries were also assessed.

    Male authors had higher retraction rates in the biomedical and health sciences, while female authors had higher retraction rates in mathematics and computer science.

    Men had a higher retraction rate than women in countries such as the US, Pakistan and Iran. In contrast, women had higher retraction rates in Italy and China. However, many Chinese names are hard to classify by gender from English transliterations, making China’s findings subject to further validation.

    Why are men’s papers retracted more often?

    Why are male authors’ papers being retracted more than females? Though Zheng and colleagues cannot say for certain, they propose two hypotheses.

    The first is that men may simply be more likely to engage in scientific misconduct.

    “Psychological research has shown that men, on average, are more prone to risk-taking in areas such as driving and financial decisions, which may extend to academic behavior,” Zheng said. “From an evolutionary perspective, this pattern may be partly attributable to men’s higher tolerance for potential harm and greater expectation of rewards, which may make risky actions – such as scientific misconduct – more appealing.”

    Male misconduct may also be more likely to be detected. “Not all wrongdoing comes to light, especially subtle forms like data falsification. But higher visibility of male researchers could increase the likelihood that their misconduct is uncovered, contributing to the higher observed retraction rates,” Zheng continued.

    Ultimately, future research adopting mixed methods approaches – collecting both quantitative and qualitative data – will be needed to establish the validity of these hypotheses. In turn, this could help identify solutions to misconduct issues.

    “This could include in-depth interviews with researchers who have experienced retractions, surveys that gauge attitudes toward research integrity across different career stages and disciplines and focus groups that examine how factors such as academic culture, competitive pressures and gender role expectations shape behavior,” said Zheng.

    “Importantly, although we found higher retraction rates among male researchers, our message applies to everyone: it’s always better to publish modest but honest results than to have a paper retracted for scientific misconduct,” he concluded.

    Reference: Zheng ET, Fu HZ, Thelwall M, Fang Z. Do male leading authors retract more articles than female leading authors? JOI. 2025;19(3):101682. doi: 10.1016/j.joi.2025.101682

    About
    the interviewee:

    Mr. Er-Te Zheng is a PhD researcher at School
    of Information, Journalism and Communication, University of Sheffield. He is
    currently conducting research in
    metascience, the
    science of science, scientometrics and research integrity.

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  • Chilean project aims to be at forefront of theoretical astrophysics

    Chilean project aims to be at forefront of theoretical astrophysics

    The CiELO project’s results are intended to complement and enhance the interpretation of data from telescopes such as NASA’s James Webb Space Telescope (shown). Photo by NASA

    Aug. 12 (UPI) — Chile’s the CiELO project is opening new frontiers in the study of how galaxies form and evolve, positioning the country as a leader in computational astrophysics in Latin America.

    “This is the first simulation project of its kind developed in Chile and in the region,” said Patricia Tissera, director of the Center for Astrophysics and Related Technologies and leader of the project.

    “Thanks to this initiative, the national scientific community can now pose and address its own questions about the universe with an independent perspective and a local identity,” Tissera said.

    The project, whose acronym stands for Chemo-dynamIcal propertiEs of gaLaxies and the cOsmic, aims to understand how galaxies form and evolve within their natural environment — the cosmic web — using their chemical properties as markers of that evolution.

    It seeks to determine how different environments — cosmic voids, filaments and walls — influence the dynamics and composition of galaxies, offering new insights into their formation and transformation over time.

    “CiELO builds virtual universes inside supercomputers — true cosmic virtual twins — that allow us to navigate from the Milky Way to the first galaxies in the universe,” Tissera said. “This capability opens possibilities outside astronomy, in fields where simulations and modeling are essential.”

    The project, developed over eight years with universities in Ibero-America and international centers such as the Max Planck Institute for Astrophysics and Durham University, is supported by the Center for Astrophysics and Related Technologies, which provides access to powerful computing clusters such as Geryon and helps train new researchers.

    The simulations, also run at the National Laboratory for High Performance Computing at the University of Chile and the Barcelona Supercomputing Center, use tools such as GADGET-3 (GAlaxies with Dark matter and Gas intEracT) — a code for modeling the formation and evolution of galaxies — and SKIRT (Stellar Kinematics Including Radiative Transfer), software that simulates how light interacts with interstellar dust, to reproduce and analyze galactic evolution in detail.

    The CiELO project’s results are intended to complement and enhance the interpretation of data from telescopes such as the James Webb Space Telescope, which orbits 930,000 miles abiove Earth; the Vera C. Rubin Observatory, situated in Cerro Pachón in Chile’s Coquimbo region; and the future Extremely Large Telescope, under construction on Cerro Armazones in Chile’s Antofagasta region.

    The project’s innovative focus on galaxies in low-density environments allows researchers to study processes that have been little explored, with particular attention to chemical elements as indicators of their evolutionary history.

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  • ‘Marty stop that! You can’t do it!’: Scorsese reveals he toyed with buying a gun to threaten film studio | Television

    ‘Marty stop that! You can’t do it!’: Scorsese reveals he toyed with buying a gun to threaten film studio | Television

    Oscar-winning film director Martin Scorsese threatened to buy a gun when in a rage at a film studio, according to a new docuseries about his life. After suggested edits to his 1976 movie Taxi Driver, which starred Robert De Niro, he flew into such a fury that he began threatening to take the law into his own hands.

    “Marty was very upset,” says Steven Spielberg. “We get a call at the office: ‘Steve, Steve, it’s Marty. Can you come over to the house? They want me to cut all the blood spurting, they want me to cut the guy who loses his hand.’”

    “He was going crazy,” adds fellow director Brian De Palma. “I mean, the story is he wanted to kill the head of the studio.”

    Scorsese himself claims that his plans were slightly less extreme, even if he did claim at the time that he had every intention of buying a weapon. “I don’t know. I was angry. I said I was going to threaten them, or maybe just shoot or something. I had no idea,” he says.

    Instead, the director’s actual plan involved a different sort of crime. “What I wanted to do – and not with a gun – I would go in, find out where the rough cut is and break the windows and take it back,” he explains.

    “They’re going to destroy the film anyway, so let me destroy it. I’ll destroy it. But before destroying it, I’m going to steal it.

    “Spielberg said: ‘Marty stop that! Marty, you can’t do it!’ And the more they said no, the more I said I was going to do it.”

    The scenes come from an Apple TV+ documentary series, Mr Scorsese, which looks at the director’s life and work drawing on access to his private archives. It features interviews with family, friends and colleagues including De Niro, Daniel Day-Lewis, Sharon Stone, Margot Robbie and Mick Jagger.

    It was not the first time that the director uttered violent threats during the production of Taxi Driver. He also infamously appeared in the movie as a passenger who planned to murder his wife after discovering her infidelity, performing a calm monologue strewn with racist language and threats of gun-related violence.

    Ultimately, a compromise to the editing crisis was struck, meaning that Taxi Driver was able to retain controversial blood-soaked scenes. In the words of Spielberg: “It saved the movie because he didn’t have to cut any of the violence. He just had to take the colour red down to a colour brown.”

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  • Rice Researchers Unlock Powerful Form of Quantum Interference

    Rice Researchers Unlock Powerful Form of Quantum Interference

    Aug. 12, 2025 — Just as overlapping ripples on a pond can amplify or cancel each other out, waves of many kinds — including light, sound and atomic vibrations — can interfere with one another. At the quantum level, this kind of interference powers high-precision sensors and could be harnessed for quantum computing.

    Rendering of a two-dimensional metal (middle layer) intercalated between a layer of graphene (top) and silicon carbide (bottom). Image credit: Kunyan Zhang.

    In a new study published in Science Advances, researchers at Rice University and collaborators have demonstrated a strong form of interference between phonons — the vibrations in a material’s structure that constitute the tiniest units, or quanta, of heat or sound in that system. The phenomenon where two phonons with different frequency distributions interfere with each other, known as Fano resonance, was two orders of magnitude greater than any previously reported.

    “While this phenomenon is well-studied for particles like electrons and photons, interference between phonons has been much less explored,” said Kunyan Zhang, a former postdoctoral researcher at Rice and first author on the study. “That is a missed opportunity, since phonons can maintain their wave behavior for a long time, making them promising for stable, high-performance devices.”

    By showing that phonons can be harnessed as effectively as light or electrons, the study paves the way for a new generation of phonon-based technologies. The team’s breakthrough hinges on the use of a two-dimensional metal on top of a silicon carbide base. Using a technique called confinement heteroepitaxy, the researchers intercalated just a few layers of silver atoms between a layer of graphene and silicon carbide, producing a tightly bound interface with remarkable quantum properties.

    “The 2D metal triggers and strengthens the interference between different vibrational modes in silicon carbide, reaching record levels,” Zhang said.

    The research team studied how phonons interfere with each other by looking at the shape of their signal in Raman spectroscopy, a technique that measures the vibrational modes of a material. The spectrum revealed a sharply asymmetric line shape and in some cases showed a complete dip, forming an antiresonance pattern characteristic of intense interference.

    The effect proved highly sensitive to the specificities of the silicon carbide surface. The comparison between three different surface terminations of silicon carbide revealed a clear link between each surface and its unique Raman line shape. Moreover, when the researchers introduced a single dye molecule to the surface, the spectral line shape changed dramatically.

    “This interference is so sensitive that it can detect the presence of a single molecule,” Zhang said. “It enables label-free single-molecule detection with a simple and scalable setup. Our results open up a new path for using phonons in quantum sensing and next-generation molecular detection.”

    Exploring the dynamic of the effect at low temperatures, the researchers confirmed that the interference stemmed purely from phonon interactions and not electrons, marking a rare case of phonon-only quantum interference. The effect has only been observed in the particular 2D metal/silicon carbide system used in the study and is absent in regular bulk metals. This is due to the special transition pathways and surface configurations enabled by the atomically thin metal layer.

    The study also explored the possibility of using other 2D metals, such as gallium or indium, to induce similar effects. By fine-tuning the chemical composition of these intercalated layers, researchers could design custom interfaces with tailored quantum properties.

    “Compared to conventional sensors, our method offers high sensitivity without the need for special chemical labels or complicated device setup,” said Shengxi Huang, associate professor of electrical and computer engineering and materials science and nanoengineering at Rice and corresponding author on the study. “This phonon-based approach not only advances molecular sensing but also opens up exciting possibilities in energy harvesting, thermal management and quantum technologies, where controlling vibrations is key.”

    The research was supported by the National Science Foundation (2011839, 2246564, 1943895, 2230400), Air Force Office of Scientific Research (FA9550-22-1-0408), Welch Foundation (C-2144) and the University of North Texas. The content in this press release is solely the responsibility of the authors and does not necessarily represent the official views of funding organizations and institutions.


    Source: Silvia Cernea Clark, Rice University

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