Tech
8 New Products We Want to Review Most from T.H.E. Show SoCal 2026
T.H.E. Show SoCal 2026 was not overflowing with affordable hi-fi or easy, impulse-buy review candidates. The strongest rooms were largely dealer and distributor showcases built around each brand’s newest, most ambitious, and usually rather expensive gear. That made for some excellent demonstrations, but also raised the obvious question: which component was actually responsible for making each system sound so special?
The ATC EL50 Anniversary Edition certainly made an impression again, but it is not on this list because a pair is already planned for review later this summer; the Costa Mesa system was also more of a continuation of the excellent AXPONA demonstration than a new reveal. We are also covered with the Atlantis Lab AT 23 PRO and Neoson Evolution, both of which Will Jennings is already reviewing. No need to have three people circling the same runway.
Every product on this list came from one of the show’s best sounding rooms. That does not automatically mean each was the star of the system. Great rooms are the result of careful matching, setup, source material, and enough expensive supporting gear to make a small nation nervous. These are the eight products we most want to get into a proper listening room to determine whether they were truly the reason those systems stood apart, or simply fortunate passengers in a very good hotel-room ride.
Audio Note OTO Phono SE 35 Silver Signature (U.S. pricing on request)

The Audio Note OTO Phono SE 35 Silver Signature was the amplifier that stood out in the Audio Note room at T.H.E. Show SoCal 2026, driving the AN E SPe HE loudspeakers. It is not the base OTO SE 35 covered in our March launch report, and it should not be priced as one. The $5,950 figure applies to the entry-level OTO SE 35 range, while the standard OTO Phono SE 35 begins at $6,790. The Silver Signature shown in Costa Mesa sits at the top of the phono-equipped OTO hierarchy, with U.S. pricing available through authorized dealers.
Like every OTO SE 35, it is an 8-watt-per-channel, Pure Class A, parallel single-ended EL84 integrated amplifier with an onboard MM phono stage. The 35th Anniversary update adds a redesigned in-house output transformer, revised choke-regulated power supply, new mains transformer, updated power amplifier board, and improved internal wiring and shielding. The phono stage was also reworked so Audio Note could remove the additional line stage used in earlier phono versions, reducing noise and preserving phase integrity.
The Silver Signature version goes considerably further than the standard amplifier. It adds upgraded selector switches and internal cabling, copper-foil signal capacitors, Standard, Seiryu, and Kaisei electrolytic capacitors, non-magnetic Tantalum and Silver Niobium resistors, an I HiB-core mains transformer and choke, and S HiB-core output transformers. That is not a cosmetic anniversary package. It is the fully developed version of the new OTO platform, and the obvious review question is whether those upgrades make it meaningfully more compelling than the standard and Signature versions once it leaves the carefully matched Audio Note room.
E.A.R. 88PB Phono Preamplifier ($6,295)

The E.A.R. 88PB was part of the PranaFidelity room, feeding the company’s purna/ma amplifier from a Merrill-Williams R.E.A.L. 101.3 turntable fitted with a Breuer Dynamics tonearm and OTTA Theorbo moving-coil cartridge. The Satmata loudspeaker itself remains a prototype, which removes it from review consideration for now. The 88PB does not have that problem. It is a real product, available now, and one of the more interesting phono stages at the show because it offers enough flexibility to serve as the centerpiece of a very high-end analog system rather than another expensive box chained to a preamp.
For $6,295, the E.A.R. provides two RCA inputs: one MM-only input and one switchable MM/MC input with internally adjustable moving-coil gain and loading. It also includes a volume control, a buffered output stage, transformer-coupled balanced and single-ended outputs, and a mono switch. That means it can run directly into a power amplifier in a one-source vinyl system. The E.A.R. name still carries weight because Tim de Paravicini designs were never about turning vinyl playback into a laboratory experiment. The 88PB deserves a review because it could be both an exceptional phono stage and a genuinely useful control center for analog-first listeners.
Prodigio Audio WR2 Electrostatic Loudspeakers ($38,000/pair)

Formerly known as Popori Acoustics, Prodigio Audio’s WR2 Arrabona electrostatic loudspeakers were among the most visually and sonically memorable products at the show. The Hungarian-made panels were demonstrated with AGD electronics, REL S/850 subwoofers, and Theoretica’s BACCH-SP adio processing. That is not a casual supporting cast. It was one of the show’s more carefully assembled systems, and the point of a proper review would be determining how much of that stunning transparency and spatial scale came from the WR2 itself rather than the processing, amplification, and very effective bass reinforcement.
The WR2 is specified at 91dB sensitivity, with a minimum impedance of 2.5 ohms, a claimed 35Hz to 22kHz frequency response, and a substantial 0.45-square-meter electrostatic panel. At almost six feet tall and 37 kilograms per speaker, these are not small-room ornaments, although Prodigio positions them for small to medium-sized rooms. Electrostatics can produce startlingly clean midrange and transient speed, but they can also expose weak amplifier matching, room placement, and limitations at the frequency extremes. At $38,000 per pair, the WR2 needs to prove that its appeal extends beyond the calibrated center seat and a very expensive hotel-room ecosystem.
Zesto Athena DAC ($15,000)

The Athena DAC was the newest and most obvious review candidate in the Zesto and YG Acoustics room. It was joined by the Leto Ultra II preamplifier, Eros 500 Select monoblocks, and YG Sonja 3.2 loudspeakers, a chain that had more than enough resolution to reveal whether the DAC was pulling its weight. The sound was not the usual tube-system caricature of softened transients and overripe warmth. It was focused, controlled, detailed, and tonally composed, which made the Athena more interesting than another component sold on the promise of “analog-like” digital playback.
At $15,000, the Athena uses a ROHM conversion chip with a Class A dual-mono tube output stage, transformer-balanced XLR outputs, RCA outputs, and Zesto’s external ESP power-supply architecture. It accepts PCM to 32-bit/384kHz and DSD512 through seven digital inputs, including USB, AES/EBU, coaxial, optical, and I2S. The design operates without upsampling, uses no negative feedback in its output stage, and offers selectable filter behavior. The show demonstration also made an interesting case for restraint: the move from DSD128 to DSD256 was less dramatic than the step from DSD64 to DSD128. That is precisely the sort of claim worth testing in a real system rather than accepting because the rack costs more than a decent home.
Odyssey Meilenstein Monoblocks ($12,900/pair)

Odyssey Audio’s new Meilenstein monoblocks were central to one of the show’s most memorable rooms, driving Odyssey Lorelei loudspeakers in a setup that ignored almost every conventional hotel-room placement rule. The speakers were positioned close to the side walls and well into the room, yet the system produced unusually convincing depth, image focus, and scale. The room treatment clearly mattered, and the loudspeakers were not innocent bystanders, but the Meilensteins were the obvious component to investigate because they appeared to bring a different level of control and dimensionality to the system.
The published information is still limited because these are genuinely new products, which is all the more reason to review them properly. Pricing has been listed at $12,900 per pair, with output reported at roughly 160 to 180 watts per channel in monoblock form. Odyssey has positioned Meilenstein as a more ambitious line above its established Stratos and Kismet products, with revised power-supply regulation, new boards, different transistors, upgraded German transformers and capacitors, and a more luxurious build approach. That all sounds promising, but it also means the review has to look beyond a good show result: noise floor, thermal behavior, long-term reliability, speaker compatibility, and whether the performance justifies a serious jump in price.
REL Carbon Special Black Label Subwoofers ($4,999 each)

The REL Carbon Special Black Label six-pack was the surprise of the Acora and VAC room because it did not behave like a six-subwoofer bass demonstration. Three units were stacked behind each Acora MRC-3 loudspeaker, creating a $29,994 low-frequency array that added scale, weight, and authority without turning the system into a self-parody. The subs did not call attention to themselves. They expanded the apparent size of the system, increased the solidity of images, and allowed the Acoras to sound more like genuine full-range loudspeakers without sacrificing speed or clarity.
Each Carbon Special Black Label uses a 12-inch carbon-fiber active driver, a 12-inch down-firing passive radiator, and a 900-watt Linear Class D amplifier. REL rates low-frequency extension to 19Hz at minus 6dB, and the subwoofer supports high-level Speakon connection, low-level RCA, LFE RCA, and XLR. More importantly, it is designed for stereo pairs and vertical line arrays. Most listeners will not be stacking six $5,000 subwoofers behind their speakers unless the accountant has left the building, but the show demonstrated why REL’s multi-sub approach matters. A review should determine how much of that scale and coherence remains with one subwoofer, a stereo pair, or a more realistic system built around normal human finances.
Wolf von Langa WVL 11620 ORGANIC Loudspeakers ($39,995/pair)

The Wolf von Langa WVL 11620 ORGANIC loudspeakers arrived in one of the show’s most elegant rooms. Paired with Cinnamon’s Malabar VLF bass system, SW1X electronics, and a formidable analog front end, the German field-coil loudspeakers delivered natural vocal presence, tonal color, low-level detail, and an almost disarming sense of musical flow. It was not a room trying to bludgeon listeners with dynamics or treble extension. The system had finesse, which was refreshing after too many rooms that confused volume with authority.
The ORGANIC is unusual because Wolf von Langa’s energized field-coil transducer is designed to operate in a mechanically decoupled or suspended arrangement within a purpose-built acoustic labyrinth. The company’s goal is to reduce unwanted energy transfer into the cabinet and preserve a more natural sense of depth and detail. That is an ambitious claim, and the nearly $250,000 show system makes it impossible to declare the speakers solely responsible for the result. Still, the ORGANIC is a serious candidate for review because field-coil loudspeakers are rare, low-power tube compatibility remains a major attraction, and the show suggested that Wolf von Langa may have created something more than another expensive statement piece for people with German sports-car money.
Tonian Labs Oriaco D6 Loudspeakers ($6,300/pair)

The Tonian Labs Oriaco D6 loudspeakers were the outlier on this list in the best possible way. At $6,300 per pair, they were one of the few products from a Best in Show room that did not require a trust fund, a hedge fund, or a spouse with very poor eyesight. Tony Minasian paired them with Denon’s PMA-3000NE integrated amplifier and a vintage Marantz CD player, creating a system that still reached five figures once stands, cables, and source components were included, but that was comparatively sane at an event dominated by six-figure stacks.
The D6 is a bass-reflex stand-mount with a 6-inch Fostex full-range driver, a front-mounted 1-inch Lavoce soft-dome tweeter, and a top-mounted 1-inch SB Acoustics soft-dome ambient tweeter in a shallow horn. It is specified at 91dB sensitivity, 8-ohm nominal impedance, and 57Hz to 30kHz. The combination is unconventional, but the appeal is easy to understand: the D6 delivered fast transients, natural decay, convincing vocal placement, and a sense of ease that made it sound larger than its compact cabinet should permit. The review question is straightforward: can the Oriaco D6 retain that balance of speed, tone, and image specificity in a normal room with normal recordings, or was Tony’s room simply one of those rare show setups where every piece landed exactly right?
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Tech
DEEP Robotics Four-Legged Machine Fires Pulses of Mist to Knock Back Blazes From 60 Meters Out

DEEP Robotics built its latest firefighting tool around the X30 quadruped platform and gave it a high-pressure pulse water cannon. The result lets crews attack flames in places too unstable or toxic for people to enter right away. Instead of rolling in with heavy hoses and facing immediate danger, operators stay back and direct precise bursts of water or foam while the robot handles the close work.
Recent demo footage has surfaced, showing the machine moving across an outdoor patio, getting into position, and then releasing a thick cloud of fine suppressant on a small controlled fire. The spray mist spreads quickly and visibly slows the flames without interfering with people close. The same capability applies to larger industrial situations where smoke, heat, and structural dangers make direct human entrance time-consuming and risky.
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The X30 base is already pretty tough when it comes to tackling rough terrain. It can easily ascend industrial stairs with 45-degree slopes, step over obstacles taller than 20 centimeters, and maintain balance on slippery metal grating, loose gravel, wet surfaces, and muddy factory floors. That important because a fire scene may contain collapsed scaffolding, spilled materials, or flooded areas, and this robot is equipped to handle them. The firefighting version carries the additional weight of the cannon system, yet it travels with the same smooth stability.

Even when visibility is reduced to zero, the sensors provide the operator with a pretty clear view. The LiDAR generates 3D maps in real time, while the depth cameras, infrared imaging, and high-resolution vision sensors all work together to allow the robot to navigate, detect heat sources, and avoid new threats as conditions change. Dual-spectrum cameras cut straight through the smoke, and gas detection offers an extra layer of protection against chemical or hazardous-material fires. All data is sent back to the command point via low-latency lines, and in some cases, drones or other robots provide additional viewpoints.
The power comes from batteries that last longer than previous generations, ranging from 2.5 to 4 hours depending on the load and how much it moves. The system has a quick-release feature that allows staff to swap out the pack in seconds without the use of any equipment, allowing them to keep the operation rolling even when one unit is required to remain stationary for an extended period. The entire system has an IP67 classification, so it can withstand dust and a little water spray without shutting down.

The pulse delivery method on the cannon itself represents the most significant departure from traditional firefighting gear. It doesn’t employ a continuous stream that soaks everything in its path; instead, it produces quick, intense bursts or a fine micron-level mist. According to technical specifications, a single liter of water can produce almost 1700 liters of fast-moving pulsed mist. This fine substance absorbs heat quickly, gets between the fire and the oxygen surrounding it, and can penetrate into narrow spaces or around barriers far better than a solid jet. The operator may alter the patterns and angle remotely, allowing them to tailor the spray to the unique situation, whether it’s a wide-area suppression or a targeted hit on a particular hotspot.
The wireless cannon configuration has a range of 60 meters, with some setups providing coverage of up to 120 degrees. This keeps the robot and its operators away from the “death zone,” which is where temperatures and structural collapse hazards are highest. There does appear to be a linked hose option in certain demos, which allows them to maintain a continuous flow from a hydrant or a tender while the robot moves forward. In each case, the goal is to provide effective suppression while keeping the public at a safe distance.
Tech
Michelin CrossClimate2 Vs Bridgestone WeatherPeak: What’s The Difference?
If you need a new set of tires that will handle summer and winter, you’re going to want all-season tires, and that search might lead you to the Michelin CrossClimate2 and the Bridgestone WeatherPeak. Both tires meet industry standards for severe snow performance while still giving you the year-round traction you need, with no seasonal tire changes necessary. And both are some of the best all-weather tires you can buy.
But despite those similarities, the two tires do have slightly different priorities. Marketing for the Michelin CrossClimate2 revolves more around its great treadwear rating and all-weather stopping performance, while the Bridgestone WeatherPeak focuses more on ride comfort and winter traction. Understanding the places where each tire stands out can help you decide which tire will truly be the best for your driving habits.
Michelin also makes some big claims about the CrossClimate2 compared to all-weather tires from other major tire brands. Its testing shows that the CrossClimate2 stops shorter than four leading competitors in both wet and dry conditions and also lasts up to 15,000 miles longer than competing tires — although it did not compare the tire against the WeatherPeak. That said, the CrossClimate2’s 89 sizes are more than double the WeatherPeak.
What’s different about the Bridgestone WeatherPeak
Michelin backs its CrossClimate2 with a 60,000-mile warranty and a 60-day satisfaction guarantee, but Bridgestone betters it with a more generous 70,000-mile warranty and 90-day satisfaction guarantee. They also cost less than the CrossClimate2, at least based on Discount Tire pricing. Michelin CrossClimate2s for a 205/50R17 fit start at $233 each, while the equivalent Bridgestone WeatherPeaks are $185. The story’s the same for larger 255/65R18 tires: Michelin wants $295 each, while Bridgestone asks for $253 each.
Customer reviews may well justify the price premium, however. On Michelin’s site, the CrossClimate2 sits at 4.8 out of 5 stars based on 5,858 reviews — proving that it’s undoubtedly one of drivers’ favorite Michelin tires. Meanwhile, the WeatherPeak has a 4.5 out of 5-star rating based on 838 reviews on the Bridgestone site. The story is similar over on Discount Tire: The CrossClimate2 has a 4.8 out of 5-star rating there, as well, based on 5,301 user reviews. The WeatherPeak, meanwhile, is rated 4.6 stars based on 349 reviews.
Overall, the Michelin CrossClimate2 tire has nearly three times as many sizes and stronger overall customer ratings. Meanwhile, the Bridgestone WeatherPeak tire comes with a longer mileage warranty and a lower average price, but offers fewer options.
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The third Xbox price hike in 15 months raises all models by at least $100
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Mere days after reports of mass layoffs at Microsoft-owned game development studios, things have gone from bad to worse for Xbox. In a few weeks, the company’s game consoles will receive their highest-ever price increases, marking the third round in barely over a year.
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Euclid’s Six-Gigapixel Mosaic Exposes the Milky Way’s Crowded Stellar Heart

Astronomers just received the largest and sharpest visible-light portrait ever assembled of the Milky Way’s central bulge. The European Space Agency’s Euclid telescope produced this six-gigapixel mosaic during a single day of observations in March 2025, packing more than sixty million stars into one frame along with dark dust clouds and pockets where new stars are forming.
The image spans a vast expanse of sky that most space telescopes cannot capture in a single glance. To get the complete image, 9 separate snaps from Euclid’s camera were stitched together, with each section covering more ground than the entire Moon from Earth. The original data was black and white, but colors were added later using similar observations from the Canada France Hawaii Telescope, which greatly improved the identification of different types of stars and gas.
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The middle of the frame is covered in golden yellow stars that are so tightly packed that it resembles a sparkling sprinkle of glitter on sand. The galactic bulge, a massive center structure containing 8 billion stars, is primarily composed of older, colder stars. Bits and pieces of deeper colors and channels cut through everything like black ink blots or wisps of smoke. These are dense clouds of dust and gas soaking up the light from the stars behind them.

As you move up the image, the color palette changes slightly, with the reds and purples becoming more stronger and some dazzling blue lights standing out against a faint red glow. These blue lights are actually young, enormous stars that recently formed in one of the Milky Way’s spiral arms. Their light ionises the hydrogen gas around them, resulting in the red glow seen in spots. Everything is visible from a distance of approximately 26 000 light years away, and you’d have to go through a lot of intervening material in our galaxy’s disk to see it.
The amount of detail here is incredible, especially given how bright and packed the galactic center is generally, which swamps the detectors with all that brightness and dust, but Euclid’s built-in sharpness allows it to separate individual stars even in the most congested locations. The resolution is equivalent to the Hubble camera, but it can capture 270 times more sky in each frame.

A ground-based telescope like Keck would take a whopping 2,000 hours to cover the same ground with the same level of quality. To be honest, the true value of this shot stems from using it as a baseline for future observations. Astronomers will be able to compare it to later images to discover microlensing events, which occur when the gravity of a foreground star and any planets it may have temporarily increases the light from a background star.

The way this brightens allows you to tell if a planet exists, and repeating the process allows you to compute the planet’s mass. Over the last 20 years, astronomers have discovered over 300 exoplanets near the galactic core. Euclid’s map of the stars presently contains 51 known planets, and it will aid in the finding of many more, as well as determining the masses of planets that have already been detected, such as one icy globe that has been present for the past 20 years.
Tech
Ford rehires ‘gray beard’ engineers after AI falls short
Ford executives said they have hired 350 veteran engineers — some of them were former employees, while others had been working at suppliers — after artificial intelligence and automated systems failed to deliver the desired quality level.
Bloomberg reports the company’s chief operating officer Kumar Galhotra told journalists that Ford had been “relying more and more on automated quality systems” with disappointing results. So the company “brought back technical specialists,” and those specialists “hunt for failure points before a part ever reaches the plant floor.”
Charles Poon, Ford’s vice president of vehicle hardware engineering, added, “Mistakenly we thought that by just introducing artificial intelligence and ingesting the design requirements that we had, that that would produce a high-quality product.”
To be clear, this doesn’t mean Ford is abandoning its AI plans entirely. Instead, it’s using the rehired employees — referred to as “gray beard” engineers — to train younger staff and reprogram AI tools.
This rehiring seems to be paying off, with Ford anticipating that it will lead to $1 billion in reduced costs this year. The automaker also claimed the top spot among mainstream brands in the JD Power Initial Quality Survey released this week.
Tech
ISTE+ASCD is Now the International Society for Transforming Educa
ISTE+ASCD — the organization behind the editorially independent news site EdSurge — announced a new official name on June 28: The International Society for Transforming Education.
The announcement was made at the opening general session of the organization’s annual conference in Orlando, Florida. Jeremy Owoh, president of the International Society for Transforming Education and superintendent of Jacksonville North Pulaski School District, explained that the name change had been in the works for more than a year.
“We knew that the [merger] needed to happen first and then once we grew together as a community then we could take on that [renaming] task,” he said. “This is a change we’re making very thoughtfully.”
Richard Culatta, CEO of the International Society for Transforming Education, told attendees that the name change is intended to reflect a global focus on aligning instructional strategy, technology use and educator practice to improve student outcomes and engagement.
“We believe that this name most effectively captures what both legacy organizations were always about,” he said. “Our new name shifts the focus from how we do it, to why we do it. And it shows how serious we are about transforming learning together.”
Some attendees expressed enthusiasm over the new name. “Oh, I’m excited,” said Elizabeth Diamond, an associate professor at Temple University in Philadelphia. “Words are so important, and those words are where we’re headed as teachers.”
Julie Keller, also a Temple University associate professor, added, “There’s power in the words, and it really brings together what we’re trying to do.”
Other attendees, including legacy-ASCD member Ruth Letang-Horton, vice president of the North American Division of SDA, were less enthusiastic. “I feel like the ASCD part is really lost,” she said. “Your feeling is like, ‘Wait a minute, what about ASCD?’ It’s because I’ve been an ASCD member for decades.”
The new name is the latest phase of the merger between ISTE and ASCD, which happened in 2023. According to Culatta, membership, educator certifications, the ISTE Standards and professional learning programs will continue without interruption under the new brand.
Read the full press release here.
(Editor’s note: EdSurge is an editorially independent newsroom of the International Society for Transforming Education.)
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Trump-shuttered climate change site back online in nonprofit hands
science
Remove something from the internet? You can’t stop the (climate change) signal, Mal
It’s back! After Donald Trump shuttered the National Oceanic and Atmospheric Administration’s (NOAA) Climate.gov website in 2025, cutting off public access to its 15-year archive of climate information, former members of the site’s team have brought much of it back at a new domain.
“Trusted climate information should not disappear when politics change,” Climate.us managing director Rebecca Lindsey said of the new platform in a press release.
Lindsey, who previously served as the Climate.gov program manager and lead editor, told The Register in an email that she and one of the web developers responsible for the site were the first to be caught up in government purges when DOGE swept through the department in late February 2025.
“In May, political appointees directed that all the remaining Climate.gov editorial and GIS/data visualization staff be removed from the contract,” Lindsey added.
Created in cooperation with sustainability nonprofit accelerator Multiplier, Climate.us aims to be an independent alternative to its old .gov, and many of the former NOAA crew behind the previous website have teamed up for the new initiative to “keep climate information accurate, accessible, scientifically rigorous, and useful for the people who rely on it.”
Climate.gov, which now redirects to a NOAA page about climate but which hosts none of the data the shuttered site used to contain, was taken offline in July 2025 following a Trump executive order prioritizing “gold standard science.” The order decried what it called the prior administration’s politicization of science by, among other things, “encouraging agencies to incorporate diversity, equity, and inclusion considerations into all aspects of science planning, execution, and communication.”
The EO called out climate change science as a particular area of concern, arguing that prior climate science models relied on worst-case scenarios, which somehow meant the public availability of 15 years of climate data and reporting ought to change.
The shuttering of climate.gov followed a day after the order, leading to scientists expressing concern about the ability of governments, the public, and private organizations to combat the effects of a changing climate, whether the Trump administration believed the data was true or not.
“This is evidence of serious tampering with the facts and with people’s access to information, and it actually may increase the risk of people being harmed by climate-related impacts,” University of Arizona climate scientist Kathy Jacobs told The Guardian in July 2025, following closure of the site and removal of other climate information from public repositories.
Changes to the site actually began before that, Lindsey told us. Prior to her termination, the Climate.gov team was ordered to search its archives and remove any information that violated Trump’s Gulf of America order and ban on DEI programs. Guides on teaching climate change and principles of climate literacy were among documents purged from the site in that sweep.
Climate.us, and Climate.gov before it, are designed to be a bridge between scientists studying the climate and the public, Lindsey told us.
“Most of those functions we can perform almost as well outside of the federal domain as in it,” Lindsey said. “However, losing access to the tremendous store of knowledge and expertise possessed by federal scientists, with whom we partnered to make sure our content was accurate, is a real blow.”
All of the content that was purged from the .gov is now back, along with blogs from experts, climate status reports, maps and data pathways, and national assessments of climate change as well.
Lindsey told us that rapidly changing political winds have led her to believe that the government isn’t the right place for that mission to continue, and that she would have concerns about returning the site to federal management if a future administration changed its position on climate change.
“I believe that fostering climate literacy is a public good, one of those things that benefit society as a whole, rather than one company or person,” the Climate.us director told us. “So I would definitely have concerns that going back to the government would just put us on a hamster wheel, where we’d face the same situation the next politics shift.”
Regardless of whether that offer comes, Lindsey said that the Climate.us team will continue with the same mission it had before the Trump administration attempted to quash it: Getting climate science in front of the public in a manner that’s understandable so they can make their own decisions about how to respond.
“We aren’t trying to tell people what to do about climate change,” Lindsey said. “We just think that people will come up with better strategies to confronting the world’s climate challenges if they understand what the science is telling us.” ®
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HPE is quietly pivoting from servers to networking, and Cisco should be paying attention
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Taking an established company in a new direction is always a challenging task. Doing so in the midst of one of the biggest evolutions the tech industry has witnessed, even more so.
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What Is Concrete Spalling And How Do You Fix It?
The American Dream involves a spouse, two to four kids, a white picket fence, and a driveway with enough room for your big, gas-guzzling pickup truck. It’s idyllic, really, except when that perfect portrait of property is marred by spalling. Spalling is the pitting or chipping of concrete and is one of the more common problems with concrete driveways.
Concrete driveways generally last longer than asphalt ones, but they can be prone to spalling. It occurs most frequently in areas with wide temperature swings, particularly those that freeze frequently. The freeze-and-thaw cycle can cause water to seep into the concrete’s pores. Then, when the water freezes, it expands, leading to the chipping and pitting that’s sabotaging your serene suburban sanctuary.
Spalling is preventable and repairable, but a little preparation can go a long way in keeping your driveway pristine. A good sealant can keep those pesky water molecules from seeping their way into your splendid slab of cement, while patches can cover up some of the damage, but you need to stay on top of it all the same. Here’s what to do.
How to prevent and or repair spalling
Prevention is always the best route when trying to combat spalling. Ideally, you want to hire a local professional to apply sealant in late spring or early fall. Sealing the concrete not only prevents spalling but can also protect your driveway from other damage like fading and tire marks. It’s a good idea to seal your concrete every two to 10 years, depending on factors such as how often it’s used and your local weather. If you’re worried about slipping on sealed concrete, there are additives you can use to give it some texture while still providing a solid boundary.
But if you’re already dealing with a pitted and flaky driveway, don’t panic: all is not lost. You can patch spalling that only penetrates one-third (or less) of the driveway’s thickness. Be sure to power wash the concrete to remove dirt, stains, and the like before you do so, and double-check that the patch material you’re using matches the existing concrete — this will promote adhesion. Also, make sure to extend any patches at least 4 to 6 inches around the spalling to complete the patch.
Unfortunately, if the spalling is too deep, there’s no way to fix it except to tear your driveway up and pour a new slab. But if you do, of course, make sure to apply a sealant, lest you end up having to repeat that process in the years to come.
Tech
Australia Doubles The Maximum Penalty For Its Social Media Ban
The fine can now potentially hit 99 million AUD, or $68 million.
After becoming the first in the world to implement a social media ban for those under 16, Australia isn’t doubling down. In a press release, the Australian government announced that it will double the maximum penalty for any social media companies breaking its minimum age law, from 49.5 million to 99 million AUD, or more than $68 million.
“It’s clear big tech are not doing enough to comply with the law,” Anthony Albanese, the country’s prime minister, said. “These changes reflect the seriousness with which we take any failure by social media companies to comply with our world-leading law.”
Along with the new penalty threshold, the Australian government is granting its eSafety Commissioner, Julie Grant, more enforcement power. Now, the commissioner can demand social media companies provide evidence of how they’re stopping children under 16 years old from starting an account. Notably, the Australian agency can gather evidence regarding compliance with the ban from third parties, like from age verification or app store providers, according to the press release. The country’s online safety agency also said it’s still “actively investigating potential non-compliance” with Facebook, Instagram, Snapchat, TikTok and YouTube.
While the government said it has already seen more than five million under-16 accounts removed, deactivated or restricted since the ban went into effect in December, there have been some recent studies and polls that note the potential ineffectiveness. In April, a charity organization called the Molly Rose Foundation found that 61 percent of more than 1,000 kids polled between 12 and 15 years old still had access to social media. More recently, the University of Newcastle published a study that claimed that more than 85 percent of Australian teens under 16 are still on social media apps.
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