Latest news with #Tapestry
Indian Express
4 days ago
- Science
- Indian Express
How AI can be a solution — not a problem — in the fight against climate change
written by Zenin Osho In Maharashtra's drought-prone Baramati district, sugarcane farmers have long faced a tough trade-off: Maximise yields or conserve water. Now, with the help of artificial intelligence (AI), they are managing to do both. Farmers are using AI-driven predictions to optimise irrigation schedules leading to a 30 per cent reduction in water use. Crucially, it has also cut electricity costs for farmers by around 25 per cent, since less water means less reliance on power-hungry pumps. It hints at a broader truth: AI, despite concerns over its energy use, can help drive real-world climate solutions by making industries leaner, cheaper, and greener. Much of the anxiety around AI stems from its growing appetite for electricity. Training large models consumes roughly 10 times more energy than a traditional web search. Greenhouse gas emissions from big technology companies have risen by nearly a third in recent years. With vast new data centres being built, further increases seem inevitable. Yet the alarmism is often misplaced. In absolute terms, AI remains a relatively modest consumer of energy. According to the IEA, data centres account for about 1.5 per cent of global electricity use today, and that figure could double by 2030. But most of it is driven by streaming, social media and e-commerce, not AI. Even if AI's share grows sharply, its potential to decarbonise some of the hardest-to-abate industries — while tackling both carbon and short-lived climate pollutants like methane — is becoming increasingly difficult to ignore. Take methane, for instance. Although less notorious than carbon dioxide, methane is a far more potent, if shorter-lived, greenhouse gas. Tackling it quickly could offer major climate gains. AI-powered startups are already rising to the challenge. GHGSat, for example, uses satellites equipped with advanced spectrometers and machine learning to detect facility-level methane leaks invisible to conventional monitoring. Livestock, particularly cattle, are another major methane source. Startups like Rumin8 and Symbrosia are developing AI-informed feed supplements that curb emissions from digestion. Meanwhile, DSM-Firmenich's Bovaer, now approved for use in over 55 countries, can slash methane emissions from cattle by more than 30 per cent. Agriculture offers further opportunity: Flooded paddy fields, which produce significant methane, could also benefit from AI. Just as AI tools are helping sugarcane farmers in Baramati optimise irrigation and cut water use, similar approaches could reduce flooding periods in rice cultivation — lowering methane emissions while conserving water. AI's promise in modernising energy systems is only just beginning to be realised. Use cases in renewable energy integration remain early, but encouraging signs are emerging. In the United States, Alphabet's Tapestry project, combining AI and cloud technologies, is helping grid operators automate the sluggish approval process for clean energy projects — speeding the deployment of wind and solar power. Similar challenges, albeit on a larger scale, loom in India. Integrating intermittent renewables into ageing, stressed grids remains complex. Distribution companies (discoms), which are entities responsible for buying electricity from generating companies and distributing it to end-consumers across different areas, many of which are financially strained, face acute difficulties in adopting new technologies. Yet, AI offers powerful tools. It can improve demand forecasting, optimise grid load balancing, predict faults before they cascade, and automate grid planning, significantly expediting renewable integration. Crucially, Indian startups such as Ambee, Atsuya, and Sustlabs are actively deploying AI and IoT for sustainable energy solutions. Given India's ambitious goal of adding 500GW of non-fossil capacity by 2030, these efficiencies are simply no longer optional. While widespread AI adoption among discoms may still seem distant, the potential gains — in reduced losses, enhanced reliability, and lower costs — make a compelling case for phased, strategic deployment, supported by policy reform and investment. Batteries, too, are critical to this transition. The ability to store renewable energy when the sun does not shine or the wind does not blow remains a bottleneck. Quantum computing, closely linked to advances in AI, offers a tantalising possibility. By simulating new battery materials, such as lithium nickel oxide, at the atomic level, researchers hope to design cheaper, longer-lasting storage solutions, accelerating the shift to a cleaner grid. Lithium nickel oxide is a promising material that could enable batteries with higher-energy density and lower costs compared to conventional lithium-ion designs. Teams at Sandia National Laboratories and Google Quantum AI are already using quantum simulations to accelerate battery research. They are also applying quantum techniques to improve modelling of fusion reactions, potentially unlocking a future of abundant and carbon-free energy. Industrial sectors that have long resisted decarbonisation are also beginning to show signs of change. Cement manufacturing, responsible for around 8 per cent of global emissions, is deploying AI to optimise kiln operations, cutting fuel use and emissions. In shipping, AI-driven navigation systems analyse real-time data on weather patterns and ocean currents to chart more efficient routes, saving time, fuel, and carbon. Startups are crucial in pushing these frontiers. Their agility and willingness to bet on unproven ideas give them an edge over slower-moving incumbents. Startups need deep ecosystem support, including patient capital, reliable infrastructure, expert mentorship, and clear regulatory pathways. Initiatives like Google's startup programs provide a template, offering access to advanced AI models, cloud computing resources, and tailored guidance to help founders navigate technological and policy hurdles. The government's role in strategic investment in R&D, targeted support for climate-focused startups, and regulatory frameworks that encourage innovation without creating unnecessary barriers are all essential. Transparency on AI's environmental impact is critical. From 2026, the European Union will require companies to report AI-related energy consumption; other jurisdictions should adopt similar measures. Data centres must evolve as well, shifting workloads to match renewable generation, investing in battery storage, and aiming for 24/7 carbon-free operations. Big technology firms should leverage their considerable purchasing power to accelerate the build-out of clean energy infrastructure, rather than relying primarily on offsets. Combating climate change demands we tackle both carbon and super-pollutants like methane. While concerns about AI's energy footprint are valid, its powerful potential for deep decarbonisation and systemic change is undeniable. If policymakers, investors, scientists, and entrepreneurs unite, AI can transform from a perceived climate problem into one of our most potent solutions, with startups already blazing the trail towards a new era of innovation that matches the urgency of the challenge ahead. The writer is Director, India Program of the Institute for Governance & Sustainable Development (IGSD)
ABC News
5 days ago
- Health
- ABC News
Renowned First Nations artist Maree Clarke says designing Australia's biggest 3D tapestry is a 'huge honour'
Maree Clarke is on a clear mission: to preserve South-East Australian Aboriginal culture using the power of art. The latest, groundbreaking example of this is Welcome to Country — Now You See Me: Seeing the Invisible. It's a colossal 10-metre wide, 4.2-metre high tapestry work — Australia's largest 3D tapestry and the result of more than 10,000 hours' work. The renowned Yorta Yorta, Wamba Wamba, Mutti Mutti and Boonwurrung artist and curator says Welcome to Country is a revival of practices that showcase "our stories and design sensibilities" and "speak to the present while honouring the past". "Aboriginal cultural practices were never lost — they simply waited to be woken," she tells ABC Arts. Clarke has played a pivotal role in creating Welcome to Country, using both traditional weaving practices and contemporary tools and techniques. The completion of the project, which took 14 months to make, is one of the most rewarding moments of her career. "Seeing our stories take form in this monumental way is a huge honour," Clarke says. This landmark work is a collaborative effort, designed by Clarke alongside her great nephew and mentee, Boonwurrung/Barkindji man Mitch Mahoney. "[He's] a thoughtful young father, a brilliant artist, and someone deeply connected to culture," she says. Their shared vision was realised through the expertise of 12 skilled weavers from the Australian Tapestry Workshop (ATW), a 50-year-old cultural institution dedicated to contemporary textile arts and tapestry weaving. Work was led by master weaver Chris Cochius and senior weaver Amy Cornall. The work's design references the delicate imagery of microscopic river reeds, and is inspired by the traditional river reed necklaces once bestowed upon travellers crossing Country; the necklaces carry meaningful symbols of safe passage and friendship. Welcome to Country is honouring and continuing a longstanding tradition of cultural hospitality and care; deep values of connection, protection and community can all be read into this tapestry. Clarke and Mahoney never envisioned themselves creating a tapestry, but after an initial meeting with the ATW and witnessing their sample weaves, they were "blown away by their accuracy", Clarke says. The experience inspired them to pursue a project they had never thought possible, and "to dream as big as you can dream". In April 2024, when Clarke first approached the ATW, the prospect of translating a complex cultural motif into a woven masterpiece seemed daunting. Extensive conversations and workshopping followed and, a year later, the challenging project transformed into what Cornall describes as "joyful work". "It involves continuous decision-making about shapes and colours, constantly referring back to the original image to ensure everything stays consistent," she explains. Aligning and arranging vertical threads in line with the original drawing requires relentless adjustment. "We spend pretty much all day going back and forth, physically working through the details," Cornall says. Progressing at a steady pace of approximately 10 centimetres per week, the weaving team engaged in a disciplined daily routine, demonstrating unwavering commitment to every stitch and detail. Cornall points out the physicality of the process, highlighting the human touch at every stage — from selecting and custom-dyeing some of the 368 yarns, each carefully carried from the ATW store, to the intricate stitching and weaving. This intense physical effort leaves little room for error, ensuring the artistry remains authentic and imbued with human intention. "Every day is like making a thousand decisions," Cornall says. The end result is a vibrant tapestry of human labour, where every choice — colours, textures, and techniques — contributes to a work that is as much about cultural storytelling as it is about craft. Clarke's design carries profound symbolic weight, especially within the context of its placement in the new Footscray Hospital in Melbourne's inner west. In a hospital, often the place of beginnings and farewells, the work becomes a gift, offering a visual and symbolic gesture of "safe passage to those arriving and those departing", Clarke says. Clarke wanted to infuse the hospital space with cultural warmth and welcome. "We wanted everyone walking into the hospital to feel a sense of being welcomed to Country." Under the microscope, the delicate reeds that inspired the motif reveal entire landscapes — rivers, waterways, hills, and skies — symbolising life and its many journeys. Furthermore, she says, "Embedding Indigenous stories in everyday environments — like hospitals — helps normalise and celebrate our presence, knowledge and history in the places we all share."
USA Today
5 days ago
- Business
- USA Today
Kate Spade died 7 years ago: What to know about the iconic fashion designer
Kate Spade died 7 years ago: What to know about the iconic fashion designer Show Caption Hide Caption Kate Spade's legacy Learn more on the death of handbag designer Kate Spade. CBC - Business Kate Spade, the designer who helped characterize 1990s fashion with her iconic handbags, died by suicide seven years ago this week. Spade's death on June 5, 2018, stunned the fashion world, highlighting the silent struggles behind one of the industry's biggest names and, along with the death of Anthony Bourdain three days later, sparked a broader conversation about mental health amidst fame and success. A two-time Council of Fashion Designers of America award winner, Spade left behind a brand that captivated young women in the '90s and early aughts that endures today. Who was Kate Spade? Born Katherine Brosnahan in Kansas City, she co-founded her eponymous designer brand in 1993 with her future husband and business partner Andy Spade, the brother of comedian David Spade, in their New York City apartment. Started with hand-taped prototypes, Kate Spade became a rapid success, expanding to shoes, luggage and other accessories. Spade relinquished any ownership of her brand in the mid-2000s, which would change hands a few times before landing at Tapestry, Inc., formerly Coach, Inc., after a $2.4 billion purchase in 2017. How did Kate Spade die? Spade was found dead in her Upper East Side apartment in New York City. She was 55. Her cause of death was ruled suicide by hanging. In a statement reported by media at the time, Andy Spade said his late wife had "suffered from depression and anxiety for many years" but "was actively seeking help and working closely with her doctors to treat her disease, one that takes far too many lives." Her death was followed by Anthony Bourdain's suicide three days later. "There was no indication and no warning that she would do this. It was a complete shock," Andy Spade continued. "There were personal demons she was battling." Kate Spade's best friend Elyce Arons, who is writing a memoir titled "We Might Just Make It After All" about their friendship, said the couple "were trying to work things out," she told People in an interview published June 3. The book is set for release on June 17 through Simon & Schuster. Kate Spade's daughter Frances was namesake of her new brand Spade's daughter Frances Beatrice Valentine Spade was 13 at the time of her death. Police reported at the time that she left Frances, now 20, a note. In 2016, Kate Spade turned to a new brand based around her daughter, the luxury footwear and handbag company Frances Valentine, with which she remained active until her death. If you or someone you know may be struggling with suicidal thoughts, you can call 988 any time day or night, or chat online. Crisis Text Line also provides free, 24/7, confidential support via text message to people in crisis when they dial 741741.
Yahoo
5 days ago
- Business
- Yahoo
Kate Spade died 7 years ago: What to know about the iconic fashion designer
Kate Spade, the designer who helped characterize 1990s fashion with her iconic handbags, died by suicide seven years ago this week. Spade's death on June 5, 2018, stunned the fashion world, highlighting the silent struggles behind one of the industry's biggest names and, along with the death of Anthony Bourdain three days later, sparked a broader conversation about mental health amidst fame and success. A two-time Council of Fashion Designers of America award winner, Spade left behind a brand that captivated young women in the '90s and early aughts that endures today. Born Katherine Brosnahan in Kansas City, she co-founded her eponymous designer brand in 1993 with her future husband and business partner Andy Spade, the brother of comedian David Spade, in their New York City apartment. Started with hand-taped prototypes, Kate Spade became a rapid success, expanding to shoes, luggage and other accessories. Spade relinquished any ownership of her brand in the mid-2000s, which would change hands a few times before landing at Tapestry, Inc., formerly Coach, Inc., after a $2.4 billion purchase in 2017. Spade was found dead in her Upper East Side apartment in New York City. She was 55. Her cause of death was ruled suicide by hanging. In a statement reported by media at the time, Andy Spade said his late wife had "suffered from depression and anxiety for many years" but "was actively seeking help and working closely with her doctors to treat her disease, one that takes far too many lives." Her death was followed by Anthony Bourdain's suicide three days later. "There was no indication and no warning that she would do this. It was a complete shock," Andy Spade continued. "There were personal demons she was battling." Kate Spade's best friend Elyce Arons, who is writing a memoir titled "We Might Just Make It After All" about their friendship, said the couple "were trying to work things out," she told People in an interview published June 3. The book is set for release on June 17 through Simon & Schuster. Spade's daughter Frances Beatrice Valentine Spade was 13 at the time of her death. Police reported at the time that she left Frances, now 20, a note. In 2016, Kate Spade turned to a new brand based around her daughter, the luxury footwear and handbag company Frances Valentine, with which she remained active until her death. If you or someone you know may be struggling with suicidal thoughts, you can call 988 any time day or night, or chat online. Crisis Text Line also provides free, 24/7, confidential support via text message to people in crisis when they dial 741741. This article originally appeared on USA TODAY: Kate Spade death: Fashion designer died 7 years ago
Yahoo
6 days ago
- General
- Yahoo
World Food Prize Foundation honors Ann McGlynn of Tapestry Farms with humanitarian award
The World Food Prize Foundation announced that Ann McGlynn, founder and executive director of Tapestry Farms in Davenport, is the recipient of the 2025 Robert D. Ray Iowa SHARES Humanitarian Award. The award recognizes her work to improve sustainable food access throughout the Quad Cities. Tapestry uses reclaimed, underutilized land to grow over 20,000 pounds and counting of fresh, culturally relevant produce. 'Ann McGlynn's work with Tapestry Farms is a powerful example of how a local initiative can turn untapped land into vital sources of fresh food,' said Mashal Husain, President, World Food Prize Foundation. 'Her commitment to expanding sustainable food access across the Quad Cities embodies the values of compassion, resilience and community the Robert D. Ray Iowa SHARES Humanitarian Award proudly recognizes.' Tapestry Farms grew over 11,000 pounds of fresh fruits and vegetables with the help of over a dozen staff members, interns and 300 volunteers in 2024. The farm has 12 locations across the Quad Cities from April to October and grows hydroponically year-round in a 320 square foot shipping container. This helps the nonprofit to grow an additional two to six tons of produce annually. Harvests are distributed through food pantries, nonprofits, a monthly subscription service and a farmers market stand. The Quad Cities Community Foundation awarded Tapestry Farms $300,000 over three years to allow them to nearly triple the pounds of food grown and more than double the families served by their culturally specific food pantry. Tapestry Farms also supports refugee families with housing, medical and mental healthcare, education, employment, transportation and community connections. They work with about 25 families at a time and have served over 130 families since their founding. McGlynn started Tapestry Farms after working at St. Paul Lutheran Church in Davenport, whose congregation welcomed a refugee mother and her six children from the Democratic Republic of Congo. 'When (then Iowa Governor) Robert Ray made the decision to welcome refugees to the state of Iowa in the mid-1970s, he did so to save lives,' McGlynn said. 'But he didn't stop there. He worked to feed and care for people forcibly displaced from their homes in Cambodia. Then, he forged a path for our entire nation to welcome refugees, as Iowa did with the Refugee Resettlement Act of 1980. Some of the most important people in my life are building their lives in Iowa because of Robert Ray's persistence, and our work at Tapestry Farms seeks to nourish people just as he did. I consider it one of the greatest honors of my life to receive an award named for Governor Ray.' McGlynn will receive the Iowa SHARES Award at the annual Iowa Hunger Summit on July 16 at the Norman E. Borlaug Hall of Laureates in Des Moines. Click here to register. Admission is free in person and an online option is available for a fee. The World Food Prize is an international award that honors individuals who have improved the quality, quantity or availability of food worldwide. The Prize was founded by Dr. Norman E. Borlaug, who received the 1970 Nobel Peace Prize for his work that led to increases in agricultural outputs, known as the 'Green Revolution.' The Prize has been awarded to 55 distinguished individuals during the Norman E. Borlaug International Dialogue, a week of events dedicated to addressing an issue related to food insecurity or hunger each year. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
