Eric Cortellessa in Time Magazine:
Days before Donald Trump will return to the White House, Special Counsel Jack Smith relayed an unsettling message to the American people: He had unearthed enough evidence to potentially send the incoming President to prison.
The Justice Department released on Tuesday its final report on Smith’s charges alleging that Trump illegally conspired to overturn the 2020 election, saying that prosecutors secured the goods to convict Trump had his November victory not prevented the case from proceeding. “But for Mr. Trump’s election and imminent return to the presidency, the office assessed that the admissible evidence was sufficient to obtain and sustain a conviction at trial,” the document says. The report amounts to a remarkable rebuke of someone soon to assume the powers of the presidency. While few of the findings were new—Trump’s schemes to remain in office after losing the 2020 election have been extensively chronicled through news reports, documentaries, and landmark congressional hearings—it’s yet another detailed account of how the President-elect waged an assault on American democracy and the U.S. government he will soon lead once again.
Smith’s team interviewed more than 250 people, obtained grand jury testimony from more than 55 witnesses, and said the findings of the House committee that probed the attack constituted “a small part of the office’s investigative record.” In the sprawling 137-page report, Smith unspools Trump’s efforts to block the peaceful transfer of power, from pressuring state and federal officials to nullify the election outcome to inciting a mob to ransack the U.S. Capitol on Jan. 6, 2021. Smith accuses Trump of trying to obstruct the certification of Biden’s election “through fraud and deceit,” including by encouraging “violence against his perceived opponents” in the days and weeks leading up to the insurrectionist riot.
More here.
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The technology firm OpenAI made headlines last month when its latest experimental chatbot model, o3, achieved a high score on a test that marks progress towards 
During the past three decades, more people have begun viewing our ‘global’ world as a cursed fate. With its suffocating time-space compression, globalisation seems to have uncoupled us from the logic and flow of history. Our suspicious, bastard identities – patched together from a mishmash of cultures – appear incompatible with our ancestors’ ‘authentic’ traditions and ways of life. We have become strangers to the places they called home, to the ways they dressed, ate or communicated with one another. And, with no template for how to live and no experience to learn from, the deafening siren songs of anti-globalisation movements are now luring us back into the safer identities and boundaries of a lost, golden past.
It was only last month that the Franklin fire, fanned by the dry Santa Ana winds from the east gusting up to 50 miles an hour, burned 4,000 acres around Malibu in 48 hours. The Station fire burned 
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Donald Trump is returning, artificial intelligence is maturing, the planet is warming, and the global fertility rate is collapsing.
David Edmonds’ Parfit belongs to a burgeoning genre. There are the two recent collective biographies of Anscombe, Foot, Midgley and Murdoch (by Benjamin Lipscomb and by Claire Mac Cumhaill and Rachael Wiseman). There are M.W. Rowe’s J.L. Austin: Philosopher and D-Day Intelligence Officer and Nikhil Krishnan’s A Terribly Serious Adventure. Earlier works include Ray Monk’s Russell and Wittgenstein volumes, Tom Regan’s Bloomsbury’s Prophet, and Bart Schultz’s books on Sidgwick and the other classical utilitarians. And Edmonds himself is inter alia the author of The Murder of Professor Schlick and the coauthor of Wittgenstein’s Poker.
“No one will know you tomorrow. / The shelling ended / only to start again within you,” writes the poet Najwan Darwish in his new collection. Darwish, who was born in Jerusalem in 1978, is one of the most striking poets working in Arabic today. The intimate, carefully wrought poems in his new book, , No One Will Know You Tomorrow, translated into English by Kareem James Abu-Zeid, were written over the past decade. They depict life under Israeli occupation—periods of claustrophobic sameness, wartime isolation, waiting. “How do we spend our lives in the colony? / Cement blocks and thirsty crows / are the only things I see,” he writes. His verses distill loss into a few terse lines. In a poem titled “A Brief Commentary on ‘Literary Success,’ ” he writes, “These ashes that were once my body, / that were once my country— / are they supposed to find joy / in all of this?” Many poems recall love letters: to Mount Carmel, to the city of Haifa. To a lover who, abandoned, “shares my destiny.” He speaks of “joy’s solitary confinement” because “exile has taken / everyone I love.” Irony and humor are present (“I’ll be late to Hell. / I know Charon will ask for a permit / to board his boat. / Even there / I’ll need a Schengen visa”), but it is Darwish’s ability to convey both tremulous wonder and tragedy that make this collection so distinct.
Interacting with AI chatbots like ChatGPT can be fun and sometimes useful, but the next level of everyday AI goes beyond answering questions: AI agents carry out tasks for you.