The Mohamed Embarek Fakal·la Pharmaceutical Production Laboratory is sometimes called “a desert rose,” because no one expected something like this to grow here. Mulai Mesaud Jarrachi, the lab’s logistics manager and deputy director, explains it to EL PAÍS. And, when he says “here,” he gestures broadly toward the Algerian hamada: a stony, hostile desert with scorching temperatures, where the wind constantly whips up sand that seeps under doors (and even gets between your teeth).

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Naomi Lautier is 14 years old. Born in 2011 in Paris, she paints as if the world were speaking to her in its own language. There isn’t a single learned gesture in her work, nor any desire to fit into recognizable traditions. Her art springs from elsewhere: it has a direct, almost physical connection with what she sees, what she feels and what she needs to express.

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In 2024 I sketched a map to situate what experts and commentators expected from artificial intelligence. It had two axes: how much will it advance? and will it be beneficial or dangerous? People fell into every quadrant, even the inconsistent one —“it’s nothing special and it’s extremely dangerous.” I was clearly on the “wow” side of the power axis and moderately optimistic. Two years later, the consensus has shifted in one direction: more power and more fear.

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