Humanity

Elyas Abu Safia says his father can barely breathe or speak after more than 555 days in Israeli prison.

The son of a prominent Palestinian doctor abducted and held by Israel without charge has issued an urgent appeal for his father’s release, warning that his health has sharply deteriorated after more than 555 days in prison, as a rights group warned that his life was in danger.

Elyas Abu Safia, the son of Dr Hussam Abu Safia, said in a video message on Sunday that his father, the director of Kamal Adwan Hospital in northern Gaza, showed signs of severe abuse after Israeli authorities transferred him to solitary confinement in a maximum-security prison.

“The day before yesterday, the lawyer Nasser Odeh managed to visit my father, where he told us painful details about this visit,” said Elyas, who is also a doctor.

“My father was unable to breathe. My father was unable to speak,” he said, adding: “His face was disfigured from the marks of torture and pain, and the blood he endured inside the prison, especially after the last court session held in Jerusalem.”

Israeli forces arrested Abu Safia at work on December 27, 2024, as they intensified their attacks on northern Gaza’s healthcare system as part of the genocidal war against Palestinians in Gaza. Two months earlier, an Israeli drone attack killed another of his sons, Ibrahim, at the entrance of the hospital where he worked.

Elyas accused Arab and Muslim leaders of abandoning his father.

“You deprived us even of your voices, your solidarity and your support, which should have been there from the start of the detention,” he said.

“But sadly, your silence is a betrayal and a crime, and complicity in torturing my father and the hostages inside Israeli prisons,” he added.

‘The most shocking testimony’

Physicians for Human Rights Israel warned that Abu Safiya’s life is in immediate danger after his transfer to the Rakefet section of Nitzan prison.

The group said lawyer Nasser Odeh visited Abu Safia on July 2 and documented severe injuries, signs of assault, difficulty breathing and repeated loss of consciousness. It said guards brought him into the visit with his hands and feet bound and surrounded him with masked officers.

Odeh also saw fresh bruises and injuries on Abu Safiya’s head, around his eyes, ears and neck. The wounds were so severe that the lawyer struggled to recognise him, the group said.

“The information we received raises serious and immediate concerns for Abu Safiya’s life. The lawyer’s testimony is among the most shocking we have heard since the beginning of the war: a man detained without charge tells his lawyer that he believes they will kill him, after he arrived for the visit injured, suffering from difficulty breathing, and on the verge of losing consciousness,” Naji Abbas, director of the Prisoners and Detainees Department at Physicians for Human Rights, told the official Palestinian news agency Wafa.

Israeli authorities have not filed charges against Abu Safia. They classified him as an “unlawful combatant”, a designation Israel has used to hold Palestinians for prolonged periods without trial.

Physicians for Human Rights has demanded his release, along with other imprisoned Palestinian doctors. In March, United Nations experts also called on Israel to free Abu Safia immediately and ensure he receives medical care.

He is one of 14 Palestinian doctors from Gaza currently held by Israel without charge.

Al Jazeera’s Basel Ghazoghli traces the documented record from 1948 to the present. Sexual violence against Palestinians in Israeli custody is often framed as a post-October 7 issue. But historical records, academic research, and legal testimony suggest a much longer history.

The first image in months of Gaza doctor Hussam Abu Safia has been released. He’s seen on a video call during his court hearing in Israeli court. His son recounts in an exclusive interview, the moment his family witnessed the images for the first time.

Forty-eight days, 16 hours, 57 minutes and 12 seconds after a virus transforms humanity into a blissful symbiotic horde, one of its survivors, Carol (Rhea Seehorn), treats a rooftop as a personal driving range — the golf balls shattering a neighboring building’s windows. “If you’re alone for 40 days, you’re going to go a bit crazy and be lonely,” says “Pluribus” cinematographer Paul Donachie of the series’ aesthetic, which finds surreal beauty in bland desert urbanism emptied of people. “We searched Albuquerque to find the right kind of rooftop and building to frame her in light, but with darkness around her,” he says. “We’re putting her in this box before revealing what she’s aiming at.” Along with a looser framing, shadow and contrast highlight loneliness and emotional ambiguity. As another survivor (Carlos-Manuel Vesga) makes the long journey in search of Carol, “what was interesting about this particular episode was there was no dialogue and we’re telling two little stories of what’s going on emotionally with each person,” Donachie notes. “She is trying to enjoy it and take her mind off it. But I think there’s frustration not knowing what the hell is going on in the world.”

Australian activists from the Gaza-bound aid flotilla have arrived back in Sydney, reuniting with loved ones as they describe beatings, sexual assault and torture at the hands of Israeli forces who intercepted their boats in international waters.

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.”

The DC universe is going full on body horror.

DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.

Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.

The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.

According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”

“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.

Who is Clayface?

Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”

Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.

Other versions of Clayface have been introduced in various media since.

Who is in ‘Clayface’?

The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.

Who are the ‘Clayface’ filmmakers?

Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).

The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.