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.
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.”
