form

Spain achieved its primary goal at SoFi Stadium on Thursday, defeating Austria 3-0 and advancing to the World Cup round of 16 in front of a pro-Spain announced crowd of 70,492.

The Spaniards extended their unbeaten match streak to 34 games and their win streak over European teams to 35 dating back to 2023. They have yet to concede a goal this tournament, tying the record for most consecutive men’s World Cup clean sheets with five.

By every metric, Spain controlled the match and won decisively in its best performance of the tournament.

But Spain coach Luis de la Fuente said his team still has room to improve and has yet to play its best soccer.

The team favored to win the World Cup before matches kicked off last month is still ramping up and working to championship standards.

While France’s fearsome foursome led by the electric Kylian Mbappé has bulldozed opponents, Norway’s Erling Haaland is scoring at a rapid pace and Lionel Messi is dancing his way to immortality, Spain superstar Lamine Yamal is still waiting to deliver a multi-goal dominant World Cup performance.

Yamal, an 18-year-old prodigy, showed flashes of his talent and set up his teammates well en route to winning man of the match honors that more than a few Spanish media members questioned. But his efficient teammates carried the scoring load Thursday, with Mikel Oyarzabal scoring two goals and Pedro Porro adding another for La Roja.

Spain has been managing Yamal’s minutes while he recovers from injury, but Thursday was supposed to be an opportunity to unleash his dominance.

“I think we need to keep improving our game, our intensity — everything — but obviously we know the quality we have, and we know we’re not afraid of any team,” Yamal said after the match. “We’re Spain, and we have to prove it on the field, but we believe in ourselves.”

Spain still advanced with ease and will face the winner of the Portugal-Croatia match to be played later Thursday. Their round of 16 match will be played Monday in Arlington, Texas. On July 10, the winner of that contest will face the winner of Monday’s U.S.-Belgium match at SoFi Stadium.

Austria coach Ralf Rangnick is convinced Spain, the European champions, easily could become World Cup champions.

“If you watched the game today, you would recognize it is really difficult to play against this opponent,” Rangnick said of Spain. “… I cannot remember any unforced error they made.”

Spain’s de la Fuente shook his head when he heard Rangnick’s praise, saying he was happy for his players and loves his team but saw many areas that could be improved.

“There’s much to do,” de la Fuente said, noting the competition will only grow tougher. “The defense can still be improved. There have been some situations when we lacked high pressure. … Prior to the first hydration break, the team was still trying to evolve.

”… You need to keep improving all the time.”

Spain forward Lamine Yamal falls after Austria midfielder Florian Grillitsch kicks the ball away from him during the second half Thursday.

(Kelvin Kuo / Los Angeles Times)

During its round of 32 match on Thursday, Spain handled Austria’s high press and attacked spaces behind the defense.

The Spanish team capitalized on its opponent’s defensive misalignments, found depth down the wings and consistently exposed the Austrians’ defensive weaknesses.

Austria came out quickly looking to pull off an upset, but it ran into a Spain team that was well-organized defensively. The counterattack ended with Yamal firing a shot straight at Austria goalkeeper Alex Schlager one minute into the game.

The Austrians tried to get behind the Spanish defense, but their attacking creativity was limited and they never managed to turn their promising opportunities into goals. One of Austria’s clearest chances came on a play by Marcel Sabitzer, who sent a cross from the left flank to forward Michael Gregoritsch, who wasn’t fast enough to put a head or foot on the well-placed ball before it sailed out of bounds.

The pace of the game favored Spain, as Austria took risks on the attack and left spaces open.

In the 29th minute, Yamal’s corner kick pinballed in the penalty area before falling to Marc Cucurella, who appeared to score. The goal was erased, however, because Spain tackled Austria’s goalkeeper before Cucurella took his shot.

Yamal was dynamic early and a run into the box nearly resulted in another clear scoring opportunity. Schlager barely had time to react and prevented another Spanish celebration in the 32nd minute.

Four minutes later, Cucurella sent a pass to Oyarzabal, who was left unmarked because David Alaba had left a large gap between himself and the forward. Oyarzabal connected with the cross and easily scored to give Spain a 1-0 lead.

Spain had two great chances to extend its lead during first-half stoppage time. The first was a long-range shot by Álex Baena that hit the crossbar; on the rebound, Yamal fired the ball straight into the Austria goalkeeper’s body.

In the second half, Yamal continued to pressure the Spanish defenders and set up Oyarzabal for a shot caught by the Austrian goalkeeper.

Rodri’s dribbling opened more space for Spain, allowing him to create a shooting opportunity that grazed the post in the 54th minute.

Austria was looking to attack more and brought on Sasa Kalajdzic, who responded quickly with a header that sailed over the crossbar.

Spain responded by scoring a few minutes later.

In the 66th minute, Baena won the ball back on the left and sent in a cross for Porro, who headed in his team’s second goal. It was Porro’s first goal for Spain during international competition.

In his final play before being replaced in the 85th minute, Yamal received a pass inside the penalty area and although he struck the ball well to beat the Austrian goalkeeper, another Austrian defender managed to block his shot.

When it seemed both teams were content with the result, Cucurella once again linked up with Oyarzabal off a deep pass into the center of the penalty area. Oyarzabal got behind two defenders and scored, sealing Spain’s 3-0 win.

“The game kind of tells you what you need — whether the team needs more on offense or more on defense,” Porro said. “It’s about staying more focused on that, and surely when you’re more confident in what you have to do, you perform better.”

Serena Williams walked out onto Wimbledon’s Centre Court, closed her eyes, took a deep breath and smiled at the ovation that greeted her.

Williams has consistently said she has nothing left to prove as she resumes the tennis career from which she evolved away in 2022.

But no-one was sure what to expect on Tuesday evening when she faced Australia’s Maya Joint in what was the 44-year-old’s first singles match in four years.

There would have been a moment of relief for Williams when she won her first point at SW19 for 1,462 days – a forced error from Joint in response to a huge return of serve from the American.

The match ended in a 6-3 6-7 (6-8) 6-3 win for Joint, who started strongly, weathered a second-set dip, and regrouped impressively from a break down in the third.

The competitive nature that propelled Williams to 23 Grand Slam titles means she will not be satisfied with the outcome. She has often said she hates losing more than she loves winning.

And this was not vintage Williams. She played better as the match went on before fading in the third set. There were, however, glimpses of the player that dominated the WTA Tour for over two decades.

“I was a bit cynical and very curious about what was going to happen in this match,” former Wimbledon champion Pat Cash said on BBC Radio 5 Live.

“What we saw is two people playing very good tennis and Maya being able to handle the pace of Serena.

“Serena played an incredible level. If she wants to play this way and play some more tennis, she is going to be a real handful.

“Serena played better now than she did at the end [of her career] four years ago.”

Barry Manilow has told the story behind his first big hit so many times that I had no intention of bringing up the half-century-old “Mandy” when I sat down with the singer on a recent afternoon at his home in Palm Springs. Among the questions I did ask was how he ended up recording the song that opens his new album, and the answer — as it’s so often been throughout Manilow’s career, beginning with that 1975 chart-topper — was Clive Davis.

“It was all Clive,” Manilow said of “Once Before I Go,” the Peter Allen/Dean Pitchford number that leads off his just-released “What a Time” LP. Davis, the star-making record executive with the so-called golden ears, had been urging him to record the song for years, Manilow told me, which inevitably brought him back to the well-rehearsed tale of “Mandy” — to Davis’ decision that Manilow’s debut for his Arista label lacked a breakout smash and to his suggestion that the singer cut a version of a modest hit called “Brandy” by Scott English.

“So I went in the studio and did it trying to sound like that guy,” Manilow recalled, stomping his foot to approximate a lumbering rock beat. “Clive came in and said, ‘That’s terrible.’ I said, ‘I know it’s terrible.’ But in order to learn the song, I’d slowed it down and changed the key — I found the love song hiding in ‘Brandy,’” Manilow continued. (He also changed the title to avoid any confusion with Looking Glass’ “Brandy,” which had recently reached No. 1.) Manilow played the tune in his more romantic style for the exec. “I’ll never forget it — Clive said, ‘Just do that.’ And that was the record.” He laughed.

“He’s a kind of a genius.”

Davis, who died Monday at age 94, didn’t sing or play an instrument. “I knew nothing about music,” he once said, looking back at his entry into the record business. Yet his instincts made him one of the surest spotters and nurturers of talent in pop history, with a long — and varied — line of success stories that included Manilow, Janis Joplin, Neil Diamond, Lou Reed, Patti Smith, Whitney Houston, Aretha Franklin, Dionne Warwick, Alicia Keys, Jennifer Hudson and Maroon 5, among many others. He even helped the Grateful Dead score a Top 10 single with “Touch of Grey” in 1987.

Davis, who got his start in Columbia Records’ legal department, could identify original voices and seemed to intuit which songs were likely to become hits. Sometimes the hits came from the voices themselves, as in the case of Bruce Springsteen, whom Davis cajoled into writing “Blinded by the Light” for his Columbia debut; sometimes the exec match-made performers and composers, as in the case of “Mandy” or “Freeway of Love,” a zippy Narada Michael Walden jam that launched Franklin’s comeback in the mid-1980s.

A natty dresser with a cosmopolitan air, Davis founded Arista in 1974 after he was fired from Columbia (where he’d ascended to the presidency) amid an embezzlement scandal of which he was later cleared. In 2000, he was ousted from Arista in a corporate shakeup — just months after the label won eight Grammy Awards with Carlos Santana’s 15-times-platinum “Supernatural” LP — then launched a new label, J Records, which scored an immediate blockbuster with Keys’ “Songs in A Minor.”

Clive Davis at the Beverly Hills Hotel in 2020.

(Christina House / Los Angeles Times)

Wherever he worked, Davis’ goal was shepherding hits that spanned formats and generations; he delighted in projects like “Smooth,” the inescapable Santana single pairing the rock guitarist and Rob Thomas of Matchbox Twenty, and a series of Great American Songbook albums by the once-scruffy Rod Stewart. He might also have been the music industry’s biggest believer in ballads, at least among suits: Between 1985 and 1992, Houston alone released almost a dozen of music’s all-timers, including “Saving All My Love for You,” “Didn’t We Almost Have It All” and — perhaps the greatest pop ballad ever recorded — her take on Dolly Parton’s “I Will Always Love You.” (It wasn’t a huge hit, but listen to Houston and Jermaine Jackson’s pedal-steel-drenched “Nobody Loves Me Like You Do,” from Houston’s debut, for an early instance of that crossover ambition.)

One of relatively few nonperformers inducted into the Rock & Roll Hall of Fame, Davis brought his flair for variety to the party he threw at the Beverly Hilton every year on the night before the Grammys — a famously hot ticket that drew A-list celebs from the worlds of music and Hollywood as well as business and politics. You could always count on the exec to have persuaded some number of the year’s splashiest new acts to perform; this year’s bash, in January, had Sombr, Olivia Dean and the women of “KPop Demon Hunters.” But my favorite part of the show was always seeing which veteran Davis had tapped to mix it up with the youngsters — Diamond or Manilow, for instance, or Johnny Mathis, who absolutely killed in 2015.

Davis horrified many in 2012 when he opted to proceed with his party just hours after Houston was found dead in a hotel room at the Beverly Hilton. In the years after the singer’s death, Davis drew criticism for taking too much credit for Houston’s artistic achievements; to some, he became a symbol of the music industry’s efforts to tone down Houston’s Blackness in order to reach white audiences. Five years ago, I asked Warwick, who was Houston’s cousin, whether she’d taken on any kind of consulting role on “I Wanna Dance With Somebody,” the 2022 Whitney biopic that Davis produced.

Bobby Brown, from left, Whitney Houston and Clive Davis in New York in 1998.

(Stuart Ramson / AP)

“Not one thing,” she told me. “I want them to let Whitney rest in peace. Leave her alone. Ten years [since she died] — it’s time to let her sleep.” (In a statement Monday, Warwick called Davis her “dear friend” and said she “can think of no other record man that seemed to have that magical ability to know a hit when he heard a song.”)

I spoke with Davis many times over the years and was always struck by his enthusiasm about music and about his recall of events from decades ago. In 2017, I interviewed the exec alongside Mathis and Kenneth “Babyface” Edmonds about a record the three made together that had Mathis singing newish pop songs like Adele’s “Hello” and Pharrell Williams’ “Happy” — a concept Manilow told me in March he and Davis had been talking about replicating. After my story ran, Davis emailed me and said he’d enjoyed the piece, which had a couple of lines about Davis’ tendency to go overboard hyping his projects.

“Yes, a few of your bites required a personal Band-Aid,” he wrote, “but I did appreciate your perspective of the Mathis album’s quality.”

He knew the music was good; Clive Davis always knew when the music was good.

Jude Bellingham has said the external “noise” around his place in the England team may help him find his best form during the World Cup.

One of the main talking points around selection before England’s first group game against Croatia was whether boss Thomas Tuchel would select Real Madrid’s Bellingham or Aston Villa’s Morgan Rogers in the number 10 role behind captain Harry Kane.

Bellingham was chosen to start in Dallas and scored England’s crucial third goal just after half-time, with Marcus Rashford adding a fourth late on to complete a 4-2 win.

“For me personally, it was nice to put some of the noise aside and just show my country and my team-mates how committed I am to help us try to win football matches,” the 22-year-old, who is appearing in a fourth consecutive major tournament for England, told BBC Sport.

“To contribute, to help my team and help my country is one of the biggest honours and regardless of the noise outside, that honour doesn’t change for me at all.”

Bellingham conceded that it has been a “bit of a tougher season for me”, with the start of his 2025-26 campaign disrupted by injury, his club side in Spain ending up eight points behind eventual champions Barcelona and his place in the national team under scrutiny.

But Bellingham said he feels “fresh and sharp” heading into the tournament and it was “nice to hear” comments from colleagues such as Jordan Henderson, who said the former Birmingham City and Borussia Dortmund player gives England an “X-factor”.

Asked if he has entered the World Cup with added impetus, Bellingham said: “A little bit – I think I’ve got a little bit of a chip on my shoulder, haven’t I?”

Adrian Vestea nominated as prime minister after previous choice, Eugen Tomac, withdraws.

Romanian President Nicusor Dan has nominated Adrian Vestea, a National Liberal Party member and former mayor, as prime minister to form a new government after the previous choice for the post withdrew.

“Eugen Tomac withdrew his mandate this morning and as such ‌I nominate Adrian Vestea as prime minister,” Dan, a centrist, said in a post on X on Sunday.

Vestea, 52, ⁠is the county council president of the central Romanian county of Brasov. Eugen Tomac had ⁠been seeking to lead a government of technocrats but lacked support from the parties in parliament.

Vestea, who served as a development minister from 2023 to 2024, said in a statement that he wants a “political government that will undertake real reforms and keep Romania on a pro-Western path”.

“We are the sixth largest country in Europe, and we need to put a major emphasis on development. Which I will do from day one,” he said.

Dan’s two nominations for the prime ministerial role this month come after a no-confidence vote toppled former Prime Minister Ilie Bolojan in May. A general election is not scheduled until 2028.

Dan said Vestea was suitable for the role because he had “gone through all the administrative stages” throughout his political career.

“He was a successful mayor, a successful county council president, a successful minister, and he attracted European funds, being focused on development, for example the Brasov airport, which is a success,” Dan said.

Parliamentary parties have previously said a minority government, whose members do not hold a ⁠majority of the seats in parliament, would be better ⁠than a government of technocrats.

Vestea will ⁠have 10 days to form ⁠a government and must win a parliamentary vote of confidence to take up his new post.

Romania has one of the highest budget deficits in the European Union and suffers from rampant inflation and a technical recession.

When a coalition government came to power in June 2025, it made reducing the budget deficit a priority. Bolojan was sworn in with the aim of ending one of Romania’s worst political crises in its post-communist history, but his government lasted less than a year.

June 2 (Asia Today) — Naver Cloud is moving to expand its presence in the global artificial intelligence infrastructure market through a deeper partnership with Nvidia.

The company aims to combine its HyperCLOVA X large-scale AI model and sovereign AI capabilities with Nvidia’s AI infrastructure platform to become a key player in the era of AI factories.

Industry officials said Tuesday that Naver Cloud CEO Kim Yu-won attended the Nvidia Cloud Partner Summit in Taiwan and outlined the company’s strategic cooperation with Nvidia.

The partnership is drawing attention because it goes beyond a simple graphics processing unit supply arrangement and extends across infrastructure, AI models and services.

Nvidia CEO Jensen Huang introduced Naver Cloud as a major AI-native cloud partner in the global AI ecosystem during his keynote speech at GTC Taipei 2026 on Monday.

The two companies also plan to expand cooperation in large language models. Naver Cloud plans to use Nvidia’s open large language model technology, Nemotron 3 Ultra, to advance HyperCLOVA X. The companies also plan to jointly study model optimization and core technologies.

Cooperation will also continue in physical AI. In March, Naver Cloud unveiled the Seoul World Model, a digital recreation of Seoul built with Nvidia’s Cosmos physical AI platform.

The Seoul World Model was trained on South Korean map data and 1.2 million panoramic images collected across Seoul, allowing it to reproduce real road environments and spatial structures.

Naver Cloud plans to target the global AI market by emphasizing its full-stack capabilities, which combine its own AI models and cloud infrastructure. The company also plans to expand sovereign AI projects that protect national data sovereignty by working with governments and local companies.

Naver board chair Lee Hae-jin and Huang are expected to meet soon in South Korea and disclose specific plans for the AI factory project.

“The AI industry paradigm is shifting from models to inference-focused AI factories that can operate large-scale infrastructure reliably,” Kim said. “Our cooperation with Nvidia is not a simple supply relationship but a strategic decision to expand the global AI ecosystem together.”

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260602010000541

She has flown early to the west coast of the US to be fully acclimatised for this week’s major, imbued with the confidence of her Ohio triumph.

And the key to that victory on 17 May was worked out by the player herself. She had been bemused by an uncharacteristically erratic performance on the greens while missing the cut at the Mizuho Americas Open earlier in the month.

“My putting was pretty poor and I’d been putting pretty good this year,” Woad said. “OK, it could be me, it is probably is me, but, I thought I’ll check the putter.

“The grip was just a tiny bit off, but obviously as golfers, we’re pretty specific. So it was bugging me a little bit. I got it regripped and then, yeah, all good.”

Woad beat a quality field, holding off South Korea’s Haeran Ryu to win by two shots, with major winners Miyu Yamashita and Ruoning Yin trailing in her wake.

The spectacularly in-form Nelly Korda and former world number one Lydia Ko shared eighth place.

“I think it was probably a more important win for me than the first one,” Woad said. “The first one [in Scotland last July] was obviously amazing, but it all happened so quickly.

“I had just turned pro right before that one and then went off and played loads of events. I didn’t really get time to reflect on it.

“I don’t know how many events I’ve played now, but a lot more events, playing each week, travelling each week. Seeing the competition, seeing how good everyone is.

“I think to win again, to get the second one was more important for me.”

It would be a huge call for Edwards to drop Knight, who made a record 310th England appearance at Chelmsford, for such an important summer.

Hartley said her top three would consist of Wyatt-Hodge, Capsey and Sciver-Brunt, keeping Knight in the middle order and with Dunkley missing out.

However, Dunkley is one of few England batters capable of clearing the ropes, which is an area in which they are lacking.

Since the last T20 World Cup in 2024, Dunkley has hit 11 sixes and Wyatt-Hodge five. They are the only batters in England’s top seven to have hit more than three sixes in that timeframe.

Explosive all-rounders Dani Gibson and Freya Kemp were tasked with scoring at more than 10 runs per over by the time they came in, having been in a very similar position during England’s defeat by New Zealand at Canterbury.

On both occasions, they fell cheaply trying to score quickly from ball one because of the pressure that had built when Knight was batting.

The argument to stick with Knight is not helped by the fact her attacking shot percentage has dropped to 64% in 2026 compared to 75% between 2023 and 2025.

“I don’t think Charlotte Edwards will want to drop one of the all-rounders,” Hartley added.

“She’s a huge all-rounder fan and she wants that left-hander in Kemp as well.”

Former England Test captain Nasser Hussain backed Knight to deliver because of her wealth of experience, but accepted there needs to be an improvement.

“I back Heather because she has been a world-class player for a long time,” Hussain said on Sky Sports.

“Under pressure you need people like Heather Knight, but she will know her last four innings, particularly today, to a get a run-a-ball 20 after three run-a-ball 20s – you are better getting out for a first-ball duck than getting that.

“She didn’t play T20 internationals for a year. Maybe she is taking time to get going.

“She is not as mobile. She is not someone like Jemimah Rodrigues who is putting away the bad balls and looks a lot busier, but she has been around long enough to know that is not the innings you need in a 180 run-chase.”

Since the last international break, no player has scored more Premier League goals than Watkins’ nine.

Manchester City‘s Erling Haaland is second on that list with seven, while Nottingham Forest‘s Morgan Gibbs-White is the next best English player on five.

But, while Watkins may well be arguably England’s most in-form striker heading into the World Cup, realistically the spot everyone is vying for is the number one back-up position to captain Kane.

Ivan Toney has been in prolific form all season for Al-Ahli but playing in the Saudi Pro League means his numbers are difficult to directly compare with the other contenders.

Of the rest, Watkins’ 19 goals in all competitions puts him five ahead of both Dominic Calvert-Lewin, who returned to the England fold after a five-year exile in March, and Danny Welbeck, whose last cap was in 2018.

“He’s got to be on the plane,” former Villa midfielder Lee Hendrie said on Sky Sports when asked about Watkins’ chances of being included this summer. “Since being left out we’ve just seen a massive turning of the corner.

“He’s been relentless in front of goal, he’s shown his capabilities. He’s a totally different player to Harry Kane and gives them something different.”

CHARLESTON, W.Va. — Presenting a utility bill as a valid form of identification at a voting precinct in West Virginia has gone the way of the tavern polling place and the punch-card ballot.

State lawmakers tightened an existing voter identification law by requiring photo ID at the polls, with some exceptions. The law was used for the first time in Tuesday’s primary election, and officials said they’ve seen very few glitches.

“The whole point of the law is just making sure you are who you say you are,” Secretary of State Kris Warner said Monday.

Voters will nominate candidates for U.S. Senate, U.S. House and state legislature. They also will elect two new state Supreme Court justices.

During the in-person early voting period that ended Saturday, Warner said his office hadn’t heard of anyone who demanded to vote without a photo ID. He said the state had asked residents to use photo IDs for the past few elections, so “it was not a big shock that it was now law.”

During his statewide travels over the past two weeks, Warner said he was told of some instances where people returned to their vehicle to retrieve a photo ID after entering a polling place. Another voter used an exception to the law by filling out a form that was verified by a poll worker who has known them for at least six months. There also were exceptions for first-time voters.

Most states either require or request some form of ID for in-person voting at the polls.

Proponents say the West Virginia law will cut down on voter fraud and that a photo ID is already required for everyday tasks such as getting on an airplane or buying alcohol.

The bill sailed through the Republican-supermajority legislature last year. All votes against it were cast by Democrats, some who argued it would suppress access to the polls. State Democratic Party Chair Mike Pushkin said no credible evidence was shown during legislative debate that West Virginia had a widespread problem with ineligible voting. Pushkin said the legislation was “designed more for political messaging than solving actual problems.”

But Warner said it allows senior citizens to use expired driver’s licenses, as long as it was valid on their 65th birthday

“I wanted to make sure it didn’t prevent anyone from voting,” Warner said.

Forms of identification that are no longer accepted at polling places include utility bills, bank statements, hunting and fishing licenses, bank or debit cards, and concealed carry gun permits. Acceptable forms of photo IDs include a driver’s license, U.S. passport, military ID, employee ID issued by a government agency and a student ID from a high school or college.

Monongalia County Clerk Carye Blaney said for several years her county has used an electronic system to scan bar codes on the back of driver’s licenses to check in voters at polling places.

“I think that it makes voters feel more secure, or it confirms for the voters the security of our elections when we are verifying a photo to a person,” Blaney said.

Raby writes for the Associated Press.

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”