Countries are building more coal-fired power plants and keeping old ones open "as a form of system insurance," according to a nonprofit that tracks energy infrastructure.

Possible contenders are near projects that have already been canceled, are still far from construction and are saddled with hefty price tags.

Kevin Guthrie said new DHS Secretary Markwayne Mullin has made changes that may ease the process for the Sunshine State.

The complaint comes before the European Commission is expected to adopt a new sustainability label for data centers as part of its “tech sovereignty package” on June 3.

The French plan calls for EU climate transition funds to make room for oil and gas companies with a “clear path of transition towards sustainability,” the documents show.

Projects are being developed as alternatives to traditional asphalt lots to beat the heat and curb water runoff as climate change worsens.

In a theater, the first thing the audience sees, and looks at the longest, is the stage. Even so, set design is something most of us know little about. Why does a set have its form and elements? How does it suit the performance? 

Consider a set that designer and MIT Associate Professor Sara Brown created in 2015, when the Brooklyn of Academy of Music adapted the canonical Japanese Noh play “Hagoromo,” turning it into a chamber opera with dance. 

Noh plays have a traditional structure and a crucial final transformation. In “Hagomoro,” an angel loses her cloak; a fisherman only reluctantly returns it, after the angel performs a ritual dance; the angel then ascends to the heavens. To focus on the main characters, Brown’s design featured three high walls surrounding center stage, with musicians and a chorus elevated behind them. 

“That set was a framing device more than anything else,” says Brown, who is also associate head of MIT’s Music and Theater Arts program. “It lifted the musicians to a different plane, almost a heavenly place, so we have a heaven-and-Earth contrast. It allows the dancers to be seen against a plain backdrop. I didn’t want to lose their bodies in a sea of other bodies.”

For a formal play structure, then, Brown created a formal setting, with vertical layering suggestive of its contents. The trickiest part was lighting: Brown worked with the lighting designer Clifton Taylor to cut vents in the high walls for more light, while a rigging structure allowed them to spotlight dancers.

“Solving for those things is what makes the design,” Brown says. “There’s an artistic idea that underbeds everything, and there are practical considerations, which are as important, to make the piece work the way you want.”

Brown has designed sets at many major venues, tackling everything from “Carmen” to “Death of a Salesman” and debut productions. She ranges broadly across theatrical genres, while teaching classes that get MIT students thinking visually, intellectually, and creatively.

“Every play you’re working on should have something you grab onto as a creative challenge,” Brown says. That challenge is a collective one; it involves working with directors, performers, and design teams focused on lighting, sound, media, and costumes.

“In theater-making, you have to work in a community,” Brown emphasizes. “You might bump up against some rough edges, but you develop strategies to work with everybody with dignity, and that’s important.”

For her extensive work and teaching, Brown received tenure at MIT last year. 

Minnesota kind

Brown grew up in Minnesota, where her parents made sure the whole family grasped the value of humility. 

That experience, says Brown, has given her “a voice I carry with me that channels my family. The worst thing you could be where I grew up was too big for your britches. So it’s a voice that says, ‘What are you doing and what is the value of this?’ Because of my upbringing and my family, it’s a kind voice, but it is a self-reflection I try to carry with me.”

Brown received her BA from Gustavus Adolphus College in Minnesota, then earned an MFA from the University of Virginia. At MIT, she has successfully combined professional set design with classroom teaching.

When Brown agrees to design the set for a production, the first thing she does is read the work in question. Then she sits down with the director to talk about it.

“Usually I’ll talk to the director after my first read of the play,” Brown says, citing the influence of a prominent U.S. set designer, the late Skip Mercier. “He said the only thing he brings to the first meeting is a love of the play. That is a great approach. You come understanding the material, wanting to find something within it you love and are excited to work on. You’re not closed; you’re there to discover what you have in common.” 

Indeed, Brown emphasizes how much she appreciates the collaborative aspects of theater. Inevitably, directors, designers, and actors will not agree on everything, but from sorting through those varying viewpoints, a production emerges. 

“It’s about serving the whole instead of being your personal project,” Brown says. “There will always be tension, but the idea is that through that tension, something is going to result that will be better than anything you could do by yourself.”

Brown does have some creative tendencies that reappear across productions. She will often opt for simplicity and adaptability on stage. For a production of “Pride and Prejudice” in Hartford, Connecticut, Brown designed a circular space at the front of the stage, with a slightly elevated rear area containing a piano and columns, allowing the set to shift among the many social settings of the work. 

Remarkably, another set Brown designed was actually used for two different plays running at the same time: “Death of a Salesman” and “Skeleton Crew,” a 2008 play about a closing auto plant in Detroit.

“A throughline in my work is that I gravitate to things that appear to have a simplicity and integrity or formalism, and then reveal different aspects of themselves, so they change over time,” Brown says. “But there is something essential in them. I’m drawn to simplicity, something without a lot of noise.”

“Where the good stuff is”

Still, Brown is always open to new challenges. She once designed the set for the contemporary play “The Lily’s Revenge,” which has five acts and requires the audience to move around in the theater.

“You have to figure out how to reconfigure the space in many different ways with the available materials and it has to feel like a big transformation,” Brown says. “Sometimes you’re working on things and don’t understand the totality of it [the production] until you step back and see it all together.”

Much as Brown works on a variety of theater projects, she also works with a variety of MIT students, from any given course of study, in the classroom. 

“It’s everybody, which is great,” Brown says. “There are students who did high school theater and people who have never seen a play.”

While teaching classes in the Music and Theater Arts program — which include classes on set design, the foundations of design, and drawing for designers — Brown has also served as a faculty advisor for MIT Morningside Academy of Design, an interdisciplinary hub for design on campus. 

“There’s an underlying process of design that does unite disciplines,” Brown says. Consider set design and architecture, for instance:

“Sometimes in theater you’re trying to make spaces that actually express an inefficiency. You’re creating obstacles for people onstage,” Brown says. By contrast, architects might be trying to get people to flow efficiently through buildings. Still, she adds, “It’s the same process, with different results.” Besides, architects do try to design common spaces, whether atriums, lounges, or meeting rooms, where people stop and interact, mirroring set design to an extent.

In any case, Brown notes, when she is working with MIT students in design classes, she is often “reversing the idea that there’s something external you’re seeking that is the right answer, which I think they’re used to doing in other realms of education.”

Instead, in theater, whether it’s Brown’s own professional work, or a first-time design for a student, she says, “This is a process where you have to mine your interior life and think about what you want to bring out in this event that’s going to happen onstage. That can be scary, but that’s where the good stuff is.”

The South Pacific Regional Fisheries Management Organization (SPRFMO) needs to regulate squid fishing in the South Pacific.

As usual, you can also use this squid post to talk about the security stories in the news that I haven’t covered.

Blog moderation policy.

A new short film from MIT Open Learning explores the origin, influence, and global reach of MIT OpenCourseWare, reflecting on its role in establishing MIT, in 2001, as the first higher education institution to make educational resources freely available to learners across the world.

Part of MIT Open Learning, MIT OpenCourseWare helped spark a global movement that continues to shape how knowledge is shared across the world. The film, titled “The Courage to Be Open: MIT OpenCourseWare and the Democratization of Knowledge,” captures both the vision behind this work and the lasting impact it has had on expanding access to learning at scale.

Video by MIT Open Learning | 15 minutes, 22 seconds

Crazy story:

Until this past weekend, a contractor for the Cybersecurity & Infrastructure Security Agency (CISA) maintained a public GitHub repository that exposed credentials to several highly privileged AWS GovCloud accounts and a large number of internal CISA systems. Security experts said the public archive included files detailing how CISA builds, tests and deploys software internally, and that it represents one of the most egregious government data leaks in recent history.

News article.

For many graduate students, waking up at noon after a 4 a.m. bedtime is a sign of a night well spent. For a group of MIT students, it was simply the start of their workday — timed not to the sun, but to the aurora.

Their goal was simple: to study plasma phenomena using the aurora borealis as a natural laboratory. The process, less so; working largely in darkness in Fairbanks, Alaska, the students conducted experiments in temperatures that dipped as low as -25 degrees Fahrenheit, using red headlamps for visibility. The sun set before 3 p.m., and even at its warmest, temperatures barely reached 20 F.

The aurora provides a rare opportunity to observe plasma behavior directly, as charged particles that interact with Earth’s magnetic field produce visible, large-scale structures in the night sky. As Fairbanks is situated beneath a region of especially frequent auroral activity, it is one of the most reliable places in the world to observe these phenomena, though the conditions come with real constraints. 

For one thing, the extreme cold directly impacted the instrumentation. “Our laptops went from full battery to nearly empty in 10 minutes because of the cold,” says Leonardo Corsaro, a PhD student in physics at the Plasma Science and Fusion Center (PSFC) at MIT. “We were trying to transfer data as fast as possible before everything shut down; it was a race against time!”

The challenges extended beyond the cold itself. “The cold can be managed,” says Leon Nichols, a PhD student in physics at PSFC. “With good planning, you can stay comfy in -20 F. The real difficulty was movement when deploying cameras far away from the roads. Walking through thick snow can burn up to 900 calories in an hour. We used cross-country skis to access some of the more remote terrain that would have taken hours to reach otherwise.”

But the conditions were more than worth it: During their time in Alaska, the group witnessed the strongest solar storm in the past two decades, bringing the aurora to life in ways few will ever experience. “It felt like we were the only ones there,” Sydney Menne, a PhD student in nuclear science and engineering, recounts, “removed from the Earth and just entirely surrounded by the aurora, fully immersed in it.” 

The team was granted access to observation facilities at Poker Flat Research Range through the University of Alaska Fairbanks Geophysical Institute. Over the course of the trip, students deployed multiple all-sky camera systems across distances of up to 100 miles, enabling simultaneous observations of auroral structures from different locations. These cameras, which capture 360-degree images of the night sky, were paired with magnetometers to correlate visual auroral features with changes in Earth’s magnetic field. 

By combining spatially distributed imaging with magnetic field measurements, the team aimed to capture how auroral structures change across space, with the long-term goal of supporting three-dimensional reconstructions of the aurora. This year’s campaign also expanded the measurements beyond imaging, using muon detectors to explore possible correlations between visual auroral activity, magnetic field changes, and particle detections, offering a potential window into how high-energy particles in the upper atmosphere relate to visible auroral activity.

Despite decades of study, many aspects of the aurora remain poorly understood, and each observation offers an opportunity to better characterize the behavior of plasma in near-Earth space. The team also observed a pulsating aurora, a relatively rare phenomenon in which strips of light stretching across the sky blink on and off multiple times per second. By combining instruments not traditionally applied to these problems and deploying low-cost systems at scale, the team is exploring new approaches to studying these phenomena. Insights from these observations can help improve our understanding of space weather, including how solar activity affects satellites, communications systems, and power infrastructure on Earth.

For some participants, the experience reshaped how they think about plasma physics itself. Corsaro explains, “In my research, it is easy to associate these phenomena with colorful plots and simulations, losing touch with the physical process. Seeing structures in the aurora, electric currents and flows forming and shifting overhead, brought a sense of reality to those concepts, and served as a reminder that real plasmas are far less neat and intuitive than theory suggests.”

The experience is part of a broader effort. This group of students represented the third iteration of the Geophysical Plasma Observation Expedition (GPOE), a project involving MIT students from the Plasma Science and Fusion Center, along with collaborating departments, that sends a cohort to Fairbanks, Alaska, each year. Faculty members now provide support for the expedition, while continuity is maintained through its student-driven structure, with each cohort including a mix of returning and new participants. The expedition is organized and led entirely by students and operates on an intensive, compressed timeline. Students are responsible not only for data collection, but also for instrument design, site selection, logistics, and post-processing, completing a full research cycle within a matter of months.

This year’s cohort included graduate students Leonardo Corsaro and Leon Nichols of PSFC; Sydney Menne of the Department of Nuclear Science and Engineering; and Noah Wolfe and Oleksandra “Sasha” Lukina of the Laser Interferometer Gravitational-Wave Observatory (LIGO) Laboratory and the MIT Kavli Institute for Astrophysics and Space Research. The group was accompanied by Professor Matthew Evans, professor of physics at MIT, who is affiliated with the LIGO Laboratory and the Kavli Institute. 

“This is an opportunity to go from concept to data analysis in just a few months,” says John Ball, a PhD student in nuclear science and engineering at PSFC. “That kind of compressed scientific cycle is rare, especially in our field.”

The program itself has relatively recent and somewhat unusual origins. It began in 2023, when graduate student Shon Mackie, frustrated by the lack of hands-on plasma diagnostic opportunities, noticed the solar cycle was approaching its peak and saw an opportunity to study plasma phenomena more directly. He drafted a short proposal to PSFC leadership, and the response from then-Director Dennis Whyte was two lines: “Sounds cool, literally! PSFC will fund this.” 

Since its launch in 2023, GPOE has evolved from a single-camera effort into a multi-instrument, multi-site campaign with growing participation, with each cohort building on the work of previous years by refining instrumentation, expanding observational coverage, and improving data collection strategies. 

This hands-on, student-driven approach has also created opportunities to extend the experience beyond MIT. In 2024, the program expanded to include a new outreach collaboration with the MIT Museum and the MIT Nord Anglia Collaboration, bringing approximately 65 high school students from around 20 schools worldwide to MIT to help design and build components of the all-sky camera systems used in the field. Working within a set of technical constraints, students developed and tested designs, ultimately producing 13 cameras that were deployed during the Alaska expedition.

The program has also begun to produce results beyond the expedition itself. Students have presented their work at major conferences, including the American Geophysical Union, and published findings in peer-reviewed journals such as Earth and Space Science. The group’s low-cost all-sky camera and magnetometer design is now being adopted by other research teams and community science initiatives, extending its impact beyond MIT.

Beyond its scientific goals, participants emphasized the broader impact of the experience. 

“Standing outside at midnight in Alaska, staring up at sheets of glowing plasma stretching thousands of kilometers across the sky, really brings home just how small and delicate our own place in the universe is,” says Ball. 

As the program continues to grow, students hope to expand both its technical capabilities and its reach, including more permanent instrumentation and expanding outreach partnerships. For many involved, the expedition represents not just a research opportunity, but a reminder of the scale and immediacy of the phenomena they study.

“Science is an adventure,” Corsaro says. “This kind of work reminds you why you became a scientist in the first place.”

Trump officials are “absolutely, totally freaked” about the political symbolism of breaking Biden’s high gas price record.

More than two dozen groups urged the justices to stop states, cities and counties from suing to force fossil fuel producers to pay for climate change.

The SpaceX rocket is key to the billionaire's aspirations to commercialize the solar system by establishing orbiting data centers and other space industries.

Premiums continue to increase but at a lower rate than in recent years, AM Best says. Insurers are more selective about coverage.

The Florida Hurricane Catastrophe Fund, which offers insurance companies reinsurance at prices generally lower than those in the private market, is legally obligated to provide up to $17 billion in coverage.

Fears over the volatility of oil and gas supply is invigorating a global push to switch to clean electricity.

The pledge to provide $100 billion to poorer countries was reached three years in a row.

The Science Based Targets initiative is now revising its standards to better serve companies seeking to cut their carbon footprint against a backdrop of waning enthusiasm for climate action.

Investors for Paris Compliance, also known as I4PC, said it believed “investor accountability has reached its limits.”