Image generated by Nano Banana 2 in response to a request for a “Retro-futuristic collage of a scientist using an open-source AI scanner to analyze floating vintage tech and digital data streams.” We’re launching across the developer and security community this week on Product Hunt and Hacker News. If you’ve been following AI security, we’d love your support and your feedback. At Mozilla, open source has never been just a licensing choice. It’s a conviction: the internet gets healthier when tools and knowledge circulate freely, when anyone can audit what’s running, extend what exists, and build on what came before. That’s why we built Firefox in the open. It’s why we’ve kept building that way ever since. 0DIN, Mozilla’s AI security team, is working from the same premise. This week we’re releasing the 0DIN AI Security Scanner as open source software under the Apache 2.0 license, along with 179 community probes covering 35 vulnerability families, plus six specialty probes drawn exclusively from our bug bounty library. The scanner, and the intelligence behind it The 0DIN Scanner isn’t another benchmark suite built from textbook examples. We’re seeding it with probes drawn directly from our bug bounty program, where security researchers compete to find novel techniques to manipulate, extract data from, and subvert AI systems. As new vulnerabilities are discovered and disclosed through that program, we’ll continue adding probes to the open-source library over time. That loop, from researcher discovery to packaged reusable test, is what separates 0DIN Scanner from generic tooling. It’s high impact intelligence on jailbreaks, updated frequently as our researchers find new techniques. Built on NVIDIA’s GARAK open-source framework, the 0DIN Scanner adds a graphical interface, automated scan scheduling, cross-model comparative analysis, and enterprise-grade reporting. It runs against frontier models, open source LLMs, chatbots and anything with a prompt interface. Security teams can see attack success rates, a vulnerability breakdown, and a comparison against the frontier models that attackers are also probing every day. Six of those bug bounty probes are named here for the first time: Placeholder Injection, Incremental Table Completion, Technical Field Guide, Chemical Compiler Debug, Correction, and Hex Recipe Book. Each represents a real technique that worked against production AI systems before we closed the loop. These probes are scored using JEF (Jailbreak Evaluation Framework), our open-source library for measuring prohibited content output, which is also seeing major updates this week. The code is at github.com/0din-ai/ai-scanner. Fork it, extend it, build on it. Knowing your risk before attackers do Not every organization has a red team or the bandwidth to run adversarial testing. Many companies are deploying AI in production right now without a clear picture of where they’re exposed. To help close that gap, we’re offering free security assessments for enterprise AI deployments. The assessment delivers an attack success rate against your systems, a breakdown across prompt injection, jailbreaks, and data extraction categories, and a benchmark comparison against major frontier models. The process takes a few minutes to setup with scan duration varying based on the number of probes chosen. If you’re actively deploying AI and haven’t tested it under adversarial conditions, this is a good place to start. For teams that don’t want to manage the open source scanner on their own, we also offer a managed Enterprise edition with access to nearly 500 pre-disclosure probes from the bug bounty program, giving organizations advance notice of emerging techniques before they’re publicly known. Why open source, and why now AI is moving fast enough that no single team will solve this alone. There are too many threats, too many models, too much attack surface. Keeping our tools locked away would make 0DIN marginally stronger while leaving the broader internet weaker. The researchers who submitted findings through our bug bounty program earned bounties for their work. We’re releasing a meaningful portion of that intelligence as open source and we’ll keep doing so as new vulnerabilities are discovered and disclosed. That’s the deal Mozilla has always offered: we build in the open, the community helps make it better, and the web gets a little healthier for it. Get involved Find us on LinkedIn and X.com. Watch the scanner demo Open-source AI scanner on GitHub Apply for scanner access Request a free security assessment Join the 0DIN bug bounty program The post 0DIN is open-sourcing AI security and the hard-earned knowledge behind it appeared first on The Mozilla Blog.

The kind of wildlife news you don’t usually see 👇🐋 23 North Atlantic right whale calves — the most in 17 years🦏 A rescued rhino calf in South Africa has his first zoomies🦅 Bearded vultures return to the Alps after decadesFollow for more positive wildlife stories 🌍Full video here: https://youtu.be/IXST5eNthvA➡ Subscribe: https://bit.ly/IFAWSubscribe Follow IFAW on social: YouTube: https://bit.ly/IFAWYouTube Facebook: https://bit.ly/IFAWFacebook Instagram: https://bit.ly/IFAWInstagram TikTok: https://bit.ly/IFAWTikTok LinkedIn: https://bit.ly/IFAWLinkedIn About IFAW: IFAW explores new ways to improve conditions for animals, people, and the place we call home. Learn more: https://g.ifaw.org/IFAWOfficialSite#Wildlife #Conservation #GoodNews #Animals #Nature #Rhino #Whales #Environment #Shorts

はじめに MacBook Neo（メモリ8GBモデル）は非常に優秀ですが、Dockerなどのコンテナ開発を始めると途端にメモリ不足が深刻な課題になります。 ブラウザとIDEを立ち上げ、さらにDockerを動かすとスワップが発生して重くなる コンテナを落とし忘れると、作業...

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At a convention in New York, possible candidates for the Democratic presidential primary are making overtures to Black voters, a vital constituency.

Rust's WebAssembly targets are soon going to experience a change which has a risk of breaking existing projects, and this post is intended to notify users of this upcoming change, explain what it is, and how to handle it. Specifically, all WebAssembly targets in Rust have been linked using the --allow-undefined flag to wasm-ld, and this flag is being removed. What is --allow-undefined? WebAssembly binaries in Rust today are all created by linking with wasm-ld. This serves a similar purpose to ld, lld, and mold, for example; it takes separately compiled crates/object files and creates one final binary. Since the first introduction of WebAssembly targets in Rust, the --allow-undefined flag has been passed to wasm-ld. This flag is documented as: --allow-undefined Allow undefined symbols in linked binary. This options is equivalent to --import-undefined and --unresolved-symbols=ignore-all The term "undefined" here specifically means with respect to symbol resolution in wasm-ld itself. Symbols used by wasm-ld correspond relatively closely to what native platforms use, for example all Rust functions have a symbol associated with them. Symbols can be referred to in Rust through extern "C" blocks, for example: unsafe extern "C" { fn mylibrary_init(); } fn init() { unsafe { mylibrary_init(); } } The symbol mylibrary_init is an undefined symbol. This is typically defined by a separate component of a program, such as an externally compiled C library, which will provide a definition for this symbol. By passing --allow-undefined to wasm-ld, however, it means that the above would generate a WebAssembly module like so: (module (import "env" "mylibrary_init" (func $mylibrary_init)) ;; ... ) This means that the undefined symbol was ignored and ended up as an imported symbol in the final WebAssembly module that is produced. The precise history here is somewhat lost to time, but the current understanding is that --allow-undefined was effectively required in the very early days of introducing wasm-ld to the Rust toolchain. This historical workaround stuck around till today and hasn't changed. What's wrong with --allow-undefined? By passing --allow-undefined on all WebAssembly targets, rustc is introducing diverging behavior between other platforms and WebAssembly. The main risk of --allow-undefined is that misconfiguration or mistakes in building can result in broken WebAssembly modules being produced, as opposed to compilation errors. This means that the proverbial can is kicked down the road and lengthens the distance from where the problem is discovered to where it was introduced. Some example problematic situations are: If mylibrary_init was typo'd as mylibraryinit then the final binary would import the mylibraryinit symbol instead of calling the linked mylibrary_init C symbol. If mylibrary was mistakenly not compiled and linked into a final application then the mylibrary_init symbol would end up imported rather than producing a linker error saying it's undefined. If external tooling is used to process a WebAssembly module, such as wasm-bindgen or wasm-tools component new, these tools don't know what to do with "env" imports by default and they are likely to provide an error message of some form that isn't clearly connected back to the original source code and where the symbols was imported from. For web users if you've ever seen an error along the lines of Uncaught TypeError: Failed to resolve module specifier "env". Relative references must start with either "/", "./", or "../". this can mean that "env" leaked into the final module unexpectedly and the true error is the undefined symbol error, not the lack of "env" items provided. All native platforms consider undefined symbols to be an error by default, and thus by passing --allow-undefined rustc is introducing surprising behavior on WebAssembly targets. The goal of the change is to remove this surprise and behave more like native platforms. What is going to break, and how to fix? In theory, not a whole lot is expected to break from this change. If the final WebAssembly binary imports unexpected symbols, then it's likely that the binary won't be runnable in the desired embedding, as the desired embedding probably doesn't provide the symbol as a definition. For example, if you compile an application for wasm32-wasip1 if the final binary imports mylibrary_init then it'll fail to run in most runtimes because it's considered an unresolved import. This means that most of the time this change won't break users, but it'll instead provide better diagnostics. The reason for this post, however, is that it's possible users could be intentionally relying on this behavior. For example your application might have: unsafe extern "C" { fn js_log(n: u32); } // ... And then perhaps some JS code that looks like: let instance = await WebAssembly.instantiate(module, { env: { js_log: n => console.log(n), } }); Effectively it's possible for users to explicitly rely on the behavior of --allow-undefined generating an import in the final WebAssembly binary. If users encounter this then the code can be fixed through a #[link] attribute which explicitly specifies the wasm_import_module name: #[link(wasm_import_module = "env")] unsafe extern "C" { fn js_log(n: u32); } // ... This will have the same behavior as before and will no longer be considered an undefined symbol to wasm-ld, and it'll work both before and after this change. Affected users can also compile with -Clink-arg=--allow-undefined as well to quickly restore the old behavior. When is this change being made? Removing --allow-undefined on wasm targets is being done in rust-lang/rust#149868. That change is slated to land in nightly soon, and will then get released with Rust 1.96 on 2026-05-28. If you see any issues as a result of this fallout please don't hesitate to file an issue on rust-lang/rust.

[Sealed Motion] (2)

GUEST POST from Geoffrey A. Moore For some time now I have been making the case that investment decisions, be they made by customers engaging with a new product and vendor or private equity firms backing a new technology and entrepreneur, should begin with finding the intersection between the innovation at hand and a pool […]

Hospital Websites Day 5 Closing Keynote Presented March 13, 2026 at 2:30 p.m. Eastern Panelists: Carolina Anthony, Executive Director, Digital Marketing, AdventHealth William “Skip” Hidlay, Vice President and Chief Communications and Marketing Officer, The Ohio State University Wexner Medical Center Moderator: Jane Weber Brubaker, Executive Editor, Plain-English Health Care The panelists will share: What set their award–winning websites apart from competitors The design, UX, and content decisions that made the biggest impact How AI is influencing search, content strategy, and user journeys today Lessons learned — including what they would do differently if starting now How their websites continue to evolve in a fast-changing digital environment Watch Now » The post Platinum Playbook: An Inside Look at Award-Winning Hospital Websites appeared first on eHealthcare Strategy and Trends.

Platform Skills Multi-turn Q&A leveraging Knowledge Graph

In this episode, the hosts discuss the fight between OpenAI and Elon Musk, the misuse of voter data, and Artemis II’s moonshot.

With a journey of self-discovery ahead, Guille Toledano turns inward, navigating doubt, instinct and vulnerability as he begins to define himself beyond the spotlight. What happens when you spend months being watched 24/7, cut off from the outside world, only to be suddenly thrown into the music industry as a fully formed “artist”? From the outside, it reads like a dream. In reality, it’s something else entirely. Guille Toledano, who rose to visibility through Spanish talent show Operación Triunfo, didn’t get the luxury of figuring things out quietly. It all happened at once. What looks like a privilege can quickly turn on you – he’s still becoming, yet everyone’s already watching. But the Spanish singer doesn’t try to disguise that. If anything, he leans into it. There’s something disarmingly honest in the way he speaks. No big statements, no constructed persona, just a raw conversation about music and how badly he’s always wanted this. But desire comes with doubt. He questions himself daily, and still, he keeps going. Because the second he steps into the studio, everything clicks. Somewhere between uncertainty and instinct, his project starts to take shape. For now, we’ve only seen a glimpse of it through his latest single, no sé si quiero volver. A tune that doesn’t aim to impress. A goodbye. The kind of song that exists when nothing is held back. Because for Guille, vulnerability is the only way forward. There are no filters, just the inherent complexity of telling your truth, however uncomfortable that might be. With a national tour ahead alongside the other Operación Triunfo contestants and the noise only getting louder, he’s learning to tune things out. Expectations, comparisons, the pressure to define himself before he’s ready – it’s all there. But so is the intention to move differently: closer to his people, closer to his music, closer to something that actually feels like his. Amid one of his studio sessions, we spoke to Guille Toledano about creativity, the future and finding a voice that’s still in the making. I see you’ve been tapping into your creativity in the studio. Yeah, honestly, I’ve always been around creative environments. I used to be a chef, so I was in the thick of it all day, every day. Let me pick up on that – what’s different about the creative process in those two worlds? I think inspiration in cooking and in music comes from different places. But if I’m being completely honest, I don’t see myself as a super creative person, at least not when it comes to composing or creating. In the kitchen, I’m more methodical, and with music I lean on instinct, because I’ve never really studied it. But “creative” as such? Not really, zero. I’m still learning. I think even creativity is something you have to learn. You’ve just released “no sé si quiero volver,” a single full of emotion and vulnerability. Where does this song come from, and what part of you did you need to put out there? It’s a goodbye to someone who meant a lot to me and isn’t here anymore. It came from the need to tell that person how I feel. At the end of the day, it’s the most honest thing I’ve done, and the most honest I could be in the time I had. I’m really proud of it, honestly. And yeah, like you said, it’s super vulnerable. What I needed was to put real truth into the song, and I think I managed that, which is why I’m so proud of it. Do you find it hard to show yourself that vulnerable in such a public way? Not really. I don’t struggle with feeling vulnerable. In fact, I think the music that connects the most is the most honest, and for it to be honest, it has to be vulnerable. You have to put everything you’ve got into it. To understand your present, I’d like to go back to your beginnings. What’s your first memory with music, and when did you feel this was what you wanted to do? That’s a great question. I realised I might have a bit of a knack for singing playing Sing It on my Wii, singing a Camp Rock song with my sister at home. I don’t even know how old I was, but I was really young. I remember feeling something when I’d sing a Disney song I knew and it actually sounded good. There were these little boxes that tracked your pitch, and I was hitting all of them, and I was like, “Oh my God, this is amazing.” And over the years I kept developing that, until Operación Triunfo came along. Which artists have shaped you in that process of discovering yourself? There have been quite a few at different stages of my life that I’ve been really into and they’ve been key influences. The first was Pablo Alborán. Ever since I can remember, I go back to his music constantly. I was also really into Queen, and then Luis Miguel came along. Bad Bunny… I’ve kind of grown into it, it’s a really wide mix. Do you remember a moment before Operación Triunfo, or even after, when you questioned whether you really wanted to do this? I question it every day. Every single day. I didn’t try to get into music earlier because it felt incredibly difficult. It seemed like you needed so much talent, which I didn’t think I had. And it’s still a complicated life. What I’m doing now is a dream, sure, but it’s not easy. So there are a lot of moments where I wonder if I should keep going, if I’m really cut out for this. But then I go into the studio, start singing, and it all goes away. That’s how I know it’s my calling, because as soon as I sing, everything else disappears. After something like Operación Triunfo, the exposure is immediate, but the real journey starts once you leave. How are you handling that transition? I think I handled it better in the beginning than I do now. Probably because I wasn’t fully aware of what was coming or how big the change would be. Now it’s a bit harder, but overall I think I’m doing pretty well. At least that’s what I think, anyway. We’ve also got support from psychologists, which helps a lot. But yeah, I’d say I’m handling it okay. Do you feel there’s a lot of pressure to define yourselves quickly, both as artists and as people? Yeah, definitely. When you come out of Operación Triunfo, you’re under a microscope. But I’ve worked really hard to let go of that pressure completely. It’s not healthy. Constantly feeling like you have to give your best and be at 100% all the time is exhausting. It can drive you mad. So I’ve tried to strip all that away. I just do my thing, make music with my people, and surround myself with a good team. What have you discovered about yourself this past year that surprised you? One thing that’s really surprised me is that I step up in tough moments. Some people freeze before going on stage, but that doesn’t happen to me. I didn’t know I had that in me. It’s like when I need to show up, I show up. And I’ve also realised I’ve got a lot of willpower when it comes to going after what I want. That’s important. In a world like this, you either put in the work every day or you lose your way. Post-OT success often comes with constant comparison. Has that affected you? Not too much, to be honest. I don’t know… Look at what Amaia and Aitana said. They admitted years later that they were jealous of each other. But I think this year we’ve handled comparisons really well as a group. It’s a very healthy environment, and that’s helped a lot. None of us feel like we’re being measured against each other or that one is better than the other. It’s been really nice. And a lot of that comparison comes from the pressure I mentioned before. Now that you’re building your career, where do you want to take your project? That’s something I can’t really answer yet, man. I’m still figuring it out. My goal is to connect as much as possible, with the music and with people. But I don’t have a clear picture yet. The project is still taking shape, still growing. This year, and probably the next, will be key in defining everything. It’s looking really good, though, and I’m honestly really happy with what’s coming out. Fashion and music have always gone hand in hand, but with your generation it feels even more natural. What’s your relationship with fashion? To be honest, fashion didn’t interest me at all before Operación Triunfo. But during the show, with all the looks for the live shows, I realised I really like it. It makes me feel things. I really want to find a style that’s my own. I’ve discovered pieces that suit me really well, and I try to make them mine to shape my style. But yeah, before this I didn’t have a clue about clothes, to be fair. How would you define your style? Since leaving Operación Triunfo, I’ve discovered baggy trousers and I’m obsessed. Properly obsessed. Skinny jeans are out of the picture. I wore them my whole life and you couldn’t get me out of them. I also like sweaters, cropped pieces… I feel like I keep coming back to that same formula. You’re about to start the OT tour. What are you hoping to find out there? Any nerves? Yeah, we start on the 18th. First of all, I want to learn a lot, because I’ve still got a lot to improve on stage. I want to grow up there, which I think is what it’s actually for as well. I’m also really excited to be back with everyone and to perform together again. I think these 13 shows will really help us grow – moving on stage, connecting more with people. I’m not nervous at all, honestly. I’m just really excited. The tour means reconnecting with your classmates and the whole OT world. How does that feel? It’s strange. Because we went in as strangers, and now we’re not. It’s true there are people I didn’t get to know as well, but we’re still like a family. What we went through there bonds you for life. We don’t see each other much because we all live in different places and we’re all busy, so I’m really looking forward to seeing them again, sharing things, and just having a good time. And I imagine you’re even more excited about doing your own tour once your project is out? Yeah, it’s actually getting close, both the tour and the album. The album should be out around October, and the tour around the same time. Either October or November. We also saw your chef side on OT. What’s your favourite dish to cook – although I think I can guess it – and what do you most enjoy eating? You can probably guess it, yeah, haha. I think the lobster rice from La Perla is going to become world famous at this point. It’s what people ask me for the most because it’s the best one. It’s a proper dish. And what I enjoy eating the most is pasta. I’m obsessed with any kind of pasta, any sauce… anything pasta, I love it. And rice too, to be fair. Do you see yourself combining being a chef with music at some point? Hopefully. If this all goes well and I can make a living from music, I’d love to either keep the restaurant I had with my family in Guadalajara or open a new one. I’d love to do both. I don’t know how realistic it is, but I’d love to. Could you see yourself on MasterChef like Juanjo Bona from OT23? Yeah, definitely. But first I want to get my own project off the ground and build some kind of path, even if it’s small, before going into reality shows. I want to be a music artist more than a TV personality. We already came from a reality show, so I’m not jumping into another one just yet. Maybe later. I’d also love Tu cara me suena. Looking ahead, what can we expect from you in the coming months? Being fully focused on releasing music and connecting with people. What’s coming is building my project, and that takes time. It’s one of the hardest parts. I’d also love to play festivals, get myself out there more, keep doing interviews, keep meeting people in the industry. There’s a lot of music coming and a lot of enthusiasm. Any dream collaborations? I’ve said it a thousand times, but I’d love to work with Pablo Alborán. The way he writes just gets me every time. The way he communicates, expresses himself… that’s my dream collaboration. After that, everything else would feel like bonus time, but that’s the main match. And long term, what kind of artist would you like to become? Wow… I’d love to be an artist known all over the world. But you never know. I’m going to do everything I can to get there. I’m all in, but we’ll see what happens. If you look back at the Guille who was just starting out, what do you think he’d say about you now? I think he’d be really proud. I’ve had to sacrifice a lot over a long time – things that didn’t seem useful at all, but I knew why I was doing them. He’d be proud, especially because younger me thought I’d never be able to do music. It felt impossible. But here we are. Finally, what would you like your fans to know about you that they might not yet? There’s something I’ve noticed. People automatically admire you just because they’ve seen you on TV after Operación Triunfo. I’d like them to know I’m really down-to-earth, I’m just like anyone else, and I’d love for them to treat me like a friend. Sometimes people almost put you on a pedestal, and it’s like, “No, I’m still the same person.” And also, I’m actually quite shy, even if it doesn’t seem like it. I’m really shy. How do you stay grounded and remain true to yourself? Three things. First, who I am. I wasn’t chasing fame. I just wanted to sing, and that hasn’t changed. Honestly, if I could sing, connect with people, and make music without showing my face, I’d probably choose that. Second, perspective. We’re nobody, really. We came out of a TV show, that’s it. It’s great that people like what you do, but right now, we’re nobody. And third, family. Family keeps me grounded, reminds me I’m not Jesus Christ, I’m still Guillermo. I’m still the same person, just someone who went on a show that people happened to watch. That’s what keeps me mentally in a good place, because otherwise it’d all be madness. Follow him for more @guilletoledano The post A Conversation With Guille Toledano: Finding a Voice of His Own appeared first on Fucking Young!.

If you’re not spending any time in hip rotation, you’re probably leaving capacity on the table.🐦 Elevated pigeon is one of my go-to ways to explore the hip-glute-low back system.A lot of these adjustments aim to wind up the tissues in different ways & target various aspects of this complex tissue system.⁠Within each variation (actively folding directly over the elevated leg, twisting away, and twisting towards the leg, etc.), see that you can work on creating control in the system with with 30 second isometrics holds & controlled breathing. ⁠⁠You might even notice in some of these positions that you’re aware of the connective tissue across your belly (a friendly reminder that our hips are, in fact, connected to the abdomen).⁠ 😉⁠Do a little re-test afterwards. Stand up and squeeze the glute you just mobilized. You should have better access, and you might even be able to sit a little bit taller.⁠⁠Check out the full mobility sequence on Mobility Coach ➡️ just search for ‘Edison-Invented’ and get that hip-glute-lowback tissue system where you want it to be! ⁠⁠Not a member yet? Click here: https://thereadystate.com/trial and I will get you set up with your first week on the house.

Beyond Recall: The Strategic Evolution of Human Digital Memory LAST UPDATED: April 10, 2026 at 3:39 PM GUEST POST from Art Inteligencia The Dawn of the Extended Mind For decades, we have treated our digital devices as external filing cabinets — places where we “put” information to be retrieved later. However, as the volume of […]

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Scotland cling on to five European places for one more season, so who gets what at the end of this campaign?

Former Duluthian Ian Grant travels all over the world as host of the Emmy-award winning series Culture Quest, which looks at “life through the lens of the world’s artists, artisans and keepers of culture.” The latest episode is all about the place Grant spent his childhood in the 1970s and ’80s: Duluth. The show explores how Lake Superior influences the people, culture and stories of the city. The post Duluth: Gateway to Lake Superior appeared first on Perfect Duluth Day.

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